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 Qatar and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Cabaret Voltaire to the grime kids.
I played it at Cafe Wha.
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 Subhumans. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Crooked Eye 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Searchers,
Pharaoh Sanders and the Fire Engines,
Al Stewart,
8 Eyed Spy,
Pharoah Sanders,
Supertramp,
Chris Corsano,
Marvin Gaye,
The Fall,
Lou Reed,
New Age Steppers,
The Divine Comedy,
Moby Grape,
The Raincoats,
Gang Starr,
Graham Central Station,
Masters at Work,
Nirvana,
Japan,
Josef K,
Black Bananas,
Oneida,
The Knickerbockers,
The Skatalites,
Rhythim Is Rhythim,
Piero Umiliani,
The Smoke,
Lyres,
One Last Wish,
Robert Görl,
Audionom,
The Gories,
Brass Construction,
Matthew Bourne,
Harpers Bizarre,
Yazoo,
Jacques Brel,
The Names,
The Victims,
The Count Five,
Sly & The Family Stone,
Charles Mingus,
a-ha,
Siglo XX,
Max Romeo,
Aaron Thompson,
Oppenheimer Analysis,
Brick,
Kauko Röyhkä ja Narttu,
DJ Sneak,
Crime,
Lonnie Liston Smith,
Q and Not U,
X-101,
Roy Ayers Ubiquity,
The Fortunes,
Mo-Dettes,
Sixth Finger,
The Happenings,
Robert Hood,
Gang Green,
Fatback Band,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.