Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Iran and from Houston.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Mexico City kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Human League practice in a loft in Sheffield.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Scientists to the jazz kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Harpers Bizarre. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Skaos,
Malaria!,
Traffic Nightmare,
Gang Gang Dance,
Lightning Bolt,
Mission of Burma,
La Düsseldorf,
Johnny Clarke,
The Offenders,
These Immortal Souls,
Bootsy's Rubber Band,
Parry Music,
The Leaves,
Stetsasonic,
E-Dancer,
The Men They Couldn't Hang,
Sex Pistols,
Pet Shop Boys,
Dead Boys,
Avey Tare's Slasher Flicks,
Monolake,
Sister Nancy,
Lou Reed,
Mandrill,
The Saints,
Con Funk Shun,
Bang on a Can All-Stars,
Grauzone,
The Gories,
Siouxsie and the Banshees,
Sandy B,
Maleditus Sound,
Oneida,
A Flock of Seagulls,
Flash Fearless,
Barclay James Harvest,
Lucky Dragons,
Camron Feat. Jay Z And Juelz,
The Golliwogs,
The Blues Magoos,
Jesper Dahlbäck,
Max Romeo,
Unrelated Segments,
The Black Dice,
Surgeon,
Joe Smooth,
The Birthday Party,
Accadde A,
Tommy Roe,
X-Ray Spex,
Connie Case,
Idris Muhammad,
Tim Buckley,
Guru Guru,
Steve Hackett,
Darondo,
Duran Duran,
Marmalade,
Faust,
One Last Wish,
Jesper Dahlback,
The Cramps, The Cramps, The Cramps, The Cramps.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.