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 Mali and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Soft Cell to the techno kids.
I played it at the Troubador.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Rotary Connection,
MC5,
Black Pus,
Rapeman,
Leonard Cohen,
China Crisis,
Fat Boys,
The Knickerbockers,
Jerry's Kids,
KRS-One,
John Coltrane,
Model 500,
FM Einheit,
Underground Resistance,
Kauko Röyhkä ja Narttu,
Khruangbin,
Frankie Knuckles,
Eurythmics,
Sad Lovers and Giants,
Nik Kershaw,
The Sound,
Boogie Down Productions,
F. McDonald,
Anakelly,
Kings Of Tomorrow,
Marcia Griffiths,
Robert Wyatt,
Pete Rock & C.L. Smooth,
The Moody Blues,
Curtis Mayfield,
Easy Going,
The Neon Judgement,
Metal Thangz,
The Moleskins,
Buzzcocks,
The Mummies,
Agent Orange,
Peter and Kerry,
Bluetip,
Magazine,
The Pop Group,
The Associates,
Funky Four + One,
Morten Harket,
Nation of Ulysses,
John Foxx,
Cabaret Voltaire,
Big Daddy Kane,
Mad Mike,
DJ Style,
Scratch Acid,
Sexual Harrassment,
Scion,
Gang of Four,
Kayak,
Crooked Eye,
Camberwell Now,
The Busters,
John Holt,
the Soft Cell,
The Doors, The Doors, The Doors, The Doors.
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.