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 Sweden and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1977.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Tehran 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 808 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 Masters at Work to the rap kids.
I played it at the Hacienda.
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 Avey Tare's Slasher Flicks. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal funk 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Gang Starr,
The Fall,
New Order,
Barbara Tucker,
Motorama,
Jesper Dahlback,
The Beau Brummels,
Wire,
The Red Krayola,
The Victims,
Roxy Music,
Scientists,
Fatback Band,
Porter Ricks,
Michelle Simonal,
Röyhkä ja Rättö ja Lehtisalo,
Susan Cadogan,
Morten Harket,
the Human League,
Sunsets and Hearts,
Alton Ellis,
Subhumans,
Cecil Taylor,
cv313,
The Offenders,
Mission of Burma,
The Busters,
Moss Icon,
T.S.O.L.,
Slave,
Roxette,
Ten City,
Sister Nancy,
The Misunderstood,
Anthony Braxton,
Aural Exciters,
Johnny Osbourne,
Kango’s Stein Massive,
Unwound,
The Blackbyrds,
Todd Terry,
Buzzcocks,
Aswad,
Pantytec,
Pharoah Sanders,
Fear,
Patti Smith,
Banda Bassotti,
Amazonics,
Andrew Ashong & Theo Parrish,
Trumans Water,
Kurtis Blow,
Spandau Ballet,
Bauhaus,
Kevin Saunderson,
Janne Schatter,
China Crisis,
Y Pants,
Intrusion,
Leonard Cohen,
Jacob Miller,
Alphaville, Alphaville, Alphaville, Alphaville.
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.