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 Namibia and from Bologna.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Paris.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Arab on Radar to the disco kids.
I played it at the Crocodile.
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 Donny Hathaway. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Fluxion 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Heaven 17,
Manfred Mann's Earth Band,
Chrome,
Stiv Bators,
The Smoke,
Magma,
AZ,
Pantytec,
The Smiths,
The Mojo Men,
Technova,
The Victims,
Eddi Front,
Ultra Naté,
Wire,
Ken Boothe,
Index,
Michelle Simonal,
The Move,
The Kinks,
Tears for Fears,
Angry Samoans,
K-Klass,
Chris & Cosey,
The Mummies,
Crispy Ambulance,
The Tremeloes,
Sunsets and Hearts,
Magazine,
Röyhkä ja Rättö ja Lehtisalo,
Sandy B,
Deutsch Amerikanische Freundschaft,
Marmalade,
Franke,
Harmonia,
Faraquet,
JFA,
Lucky Dragons,
Sound Behaviour,
Pagans,
Deakin,
A Certain Ratio,
Motorama,
Crooked Eye,
The Durutti Column,
Anthony Braxton,
Isaac Hayes,
Larry & the Blue Notes,
Grauzone,
Laurel Aitken,
Lizzy Mercier Descloux,
Swans,
Don Cherry,
Ultimate Spinach,
Pharaoh Sanders and the Fire Engines,
Dennis Brown,
Bronski Beat,
the Human League,
Bauhaus,
Massinfluence,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.