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 Cameroon and from Madrid.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 Calgary and Accra.
I'm losing my edge to the art-school Milan 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Bizarre Inc. to the funk 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 X-101. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal grime 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
The Sisters of Mercy,
Sarah Menescal,
The Divine Comedy,
Lightning Bolt,
The Fortunes,
Kool G Rap & DJ Polo,
Agent Orange,
The Five Americans,
8 Eyed Spy,
Motorama,
Organ,
Wire,
Arthur Verocai,
Stockholm Monsters,
Depeche Mode,
Spandau Ballet,
L. Decosne,
Camouflage,
Country Joe & The Fish,
Dawn Penn,
Mars,
Marmalade,
Bad Manners,
Rites of Spring,
Marcia Griffiths,
Derrick May,
The Toasters,
Skarface,
Crispian St. Peters,
Sonny Sharrock,
The Move,
Pylon,
Kerri Chandler,
Gabor Szabo,
The Smiths,
Quadrant,
UT,
Davy DMX,
Public Image Ltd.,
Interpol,
Magma,
Erasure,
Major Organ And The Adding Machine,
cv313,
Popol Vuh,
Sun Ra,
Goldenarms,
Wally Richardson,
ABBA,
Lalann,
June Days,
Aural Exciters,
Agitation Free,
Boogie Down Productions,
Joey Negro,
Moebius,
The J.B.'s,
Spoonie Gee,
Richard Hell and the Voidoids,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.