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 Finland and from Delhi.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Mumbai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Moss Icon to the grime kids.
I played it at the Roxy.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every The Barracudas record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Crash Course in Science,
World's Most,
Notorious BIG live in Amsterdam,
John Lydon,
Moss Icon,
Crooked Eye,
The Modern Lovers,
The Evens,
James Chance & The Contortions,
Boogie Down Productions,
Dual Sessions,
Amon Düül II,
The Neon Judgement,
Hot Snakes,
June of 44,
Blancmange,
8 Eyed Spy,
One Last Wish,
David Axelrod,
The Vogues,
Monolake,
Skaos,
Goldenarms,
Quando Quango,
Bad Manners,
Erasure,
Oneida,
E-Dancer,
Terrestrial Tones,
Rosa Yemen,
Matthew Halsall,
The Selecter,
Morten Harket,
Lindisfarne,
Masters at Work,
Graham Central Station,
The Gap Band,
The Flesh Eaters,
Pole,
Half Japanese,
Brand Nubian,
DNA,
Hoover,
Easy Going,
Con Funk Shun,
Lucky Dragons,
Tim Buckley,
The Leaves,
The Smiths,
Kenny Larkin,
Whodini,
Liliput,
The Velvet Underground,
Bizarre Inc.,
Eric Dolphy,
Ossler,
The Offenders,
Spandau Ballet,
Angels of Light & Akron/Family,
Rhythm & Sound,
Arcadia,
The Gun Club,
Arab on Radar,
June Days, June Days, June Days, June Days.
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.