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 Jordan and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1970.
I'm losing my edge.
To all the kids in New York and Bologna.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin 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 David McCallum to the grime kids.
I played it at the Troubador.
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 Quando Quango. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Unwound 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 '70s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
The Kinks,
Camberwell Now,
Hoover,
Yusef Lateef,
The Zeros,
Pantaleimon,
Notorious Big And Bone Thugs,
The Seeds,
Charles Mingus,
Louis and Bebe Barron,
Susan Cadogan,
Slick Rick,
Electric Prunes,
Agent Orange,
KRS-One,
Henry Cow,
The Index,
Derrick Morgan,
Chris Corsano,
Khruangbin,
The Human League,
The Martian,
Minnie Riperton,
Althea and Donna,
Oneida,
Eden Ahbez,
ABBA,
Art Ensemble Of Chicago,
The Modern Lovers,
The Slits,
Dorothy Ashby,
FM Einheit,
UT,
Soul Sonic Force,
James Chance & The Contortions,
Swans,
June of 44,
Ultramagnetic MC's,
Sound Behaviour,
Peter and Kerry,
Loose Ends,
Silicon Teens,
Roger Hodgson,
Grauzone,
Technova,
Patti Smith,
JFA,
The Fall,
the Soft Cell,
Roxette,
Marcia Griffiths,
Audionom,
Roxy Music,
Steve Hackett,
Erasure,
Shoche,
Das Ding,
Make Up,
Skriet,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.