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 Paraguay and from Bremen.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Paris 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 Pet Shop Boys to the funk 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 Outsiders. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Ohio Players,
The Skatalites,
The Busters,
Ultra Naté,
Faraquet,
Barry Ungar,
Inner City,
Smog,
E-Dancer,
The Dirtbombs,
The Human League,
Kings Of Tomorrow,
Super Lover Cee & Casanova Rud,
Kurtis Blow,
Wire,
Juan Atkins,
Fifty Foot Hose,
Clear Light,
Ultramagnetic MC's,
Half Japanese,
Davy DMX,
The Mighty Diamonds,
The Slackers,
The Gun Club,
Oblivians,
The Dave Clark Five,
Gil Scott Heron,
Harry Pussy,
Lalann,
The Misunderstood,
Massinfluence,
Jeff Lynne,
Outsiders,
Motorama,
Siouxsie and the Banshees,
Adolescents,
The Real Kids,
The Sonics,
Jerry Gold Smith,
The Electric Prunes,
Connie Case,
Bronski Beat,
U.S. Maple,
Robert Görl,
Rhythim Is Rhythim,
Kas Product,
Tomorrow,
Bobby Hutcherson,
Procol Harum,
Joy Division,
DNA,
Rekid,
The Music Machine,
Art Ensemble Of Chicago,
Unwound,
Cymande,
Howard Jones,
Selector Dub Narcotic,
Yusef Lateef,
KRS-One,
The Blackbyrds,
Icehouse, Icehouse, Icehouse, Icehouse.
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.