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 Cape Verde and from Winnipeg.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Cairo 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Tom Boy to the dance kids.
I played it at the Spitz.
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 Fatback Band. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Janne Schatter,
Kurtis Blow,
Monolake,
The Wake,
Young Marble Giants,
Michelle Simonal,
Arthur Verocai,
Captain Beefheart & His Magic Band,
Howard Jones,
Sunsets and Hearts,
Anthony Braxton,
Malaria!,
Anakelly,
The Slits,
Cabaret Voltaire,
the Bar-Kays,
Stockholm Monsters,
Eddi Front,
Tomorrow,
Deutsch Amerikanische Freundschaft,
The Peanut Butter Conspiracy,
Maleditus Sound,
Rotary Connection,
Moby Grape,
Rapeman,
Graham Central Station,
The Gories,
Audionom,
Swell Maps,
LL Cool J,
Susan Cadogan,
The American Breed,
Jeff Lynne,
The Smiths,
The Martian,
L. Decosne,
Lucky Dragons,
Idris Muhammad,
Marshall Jefferson,
Fifty Foot Hose,
Iggy Pop,
Erykah Badu,
Soft Machine,
Chrome,
Matthew Halsall,
John Holt,
Intrusion,
Spoonie Gee,
Quadrant,
Harpers Bizarre,
Danielle Patucci,
Rufus Thomas,
Heaven 17,
Mantronix,
Joe Smooth,
Mo-Dettes,
The Dead C, The Dead C, The Dead C, The Dead C.
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.