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 Kuwait and from Hong Kong.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Spokane 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Cluster to the crunk kids.
I played it at Trash.
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 Johnny Osbourne. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Whodini,
Rosa Yemen,
Röyhkä ja Rättö ja Lehtisalo,
Gastr Del Sol,
Thee Headcoats,
Hasil Adkins,
Sarah Menescal,
Loose Ends,
In Retrospect,
D'Angelo,
Joey Negro,
Fugazi,
Todd Rundgren,
Scion,
The Cramps,
Royal Trux,
Jawbox,
Cecil Taylor,
Stockholm Monsters,
The Black Dice,
Ituana,
John Holt,
Mo-Dettes,
The Modern Lovers,
Johnny Osbourne,
James Chance & The Contortions,
Cabaret Voltaire,
Hardrive,
Television,
Harmonia,
Fad Gadget,
The Durutti Column,
Mary Jane Girls,
Dorothy Ashby,
Thompson Twins,
48th St. Collective,
Crime,
Tears for Fears,
Sam Rivers,
Section 25,
Nick Fraelich,
Jesper Dahlbäck,
The Detroit Cobras,
Kas Product,
June Days,
Jerry Gold Smith,
Frankie Knuckles,
The Monks,
Masters at Work,
Eurythmics,
Depeche Mode,
The Standells,
The Flesh Eaters,
kango's stein massive,
B.T. Express,
Andrew Hill,
Tim Buckley,
Technova,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.