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 Ethiopia and from Mexico City.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Woodstock 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 marimba 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 Loose Ends to the disco 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 Blancmange. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Buzzcocks,
Nirvana,
Sandy B,
Supertramp,
The Vogues,
Crooked Eye,
Sällskapet,
Rufus Thomas,
Newcleus,
The Smiths,
Byron Stingily,
Rakim,
Bootsy's Rubber Band,
One Last Wish,
Lightning Bolt,
Sad Lovers and Giants,
The Associates,
DeepChord presents Echospace,
The Monochrome Set,
The Pop Group,
Vladislav Delay,
Bobby Byrd,
Marcia Griffiths,
JFA,
Cameo,
Franke,
Negative Approach,
The Knickerbockers,
Letta Mbulu,
Harmonia,
Super Lover Cee & Casanova Rud,
Circle Jerks,
Essential Logic,
Tom Boy,
Don Cherry,
Country Teasers,
Eve St. Jones,
Deepchord,
Bluetip,
ABC,
Fluxion,
Bauhaus,
Shuggie Otis,
Sly & The Family Stone,
Kings Of Tomorrow,
Boz Scaggs,
Robert Görl,
Beasts of Bourbon,
Vainqueur,
Agitation Free,
Tommy Roe,
Terry Callier,
Gang Starr,
London Community Gospel Choir,
Aural Exciters,
Joyce Sims,
Marvin Gaye,
Kurtis Blow,
Ken Boothe,
Niagra, Niagra, Niagra, Niagra.
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.