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 Fiji and from Mumbai.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 organ sounds with much patience.
I was there when Nile Rodgers 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 The Monks to the crunk 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 Mars. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
The Names,
a-ha,
Lou Christie,
Liaisons Dangereuses,
K-Klass,
Jeff Mills,
Bronski Beat,
the Bar-Kays,
The West Coast Pop Art Experimental Band,
Alice Coltrane,
Sonic Youth,
Mo-Dettes,
Popol Vuh,
Chrome,
Supertramp,
Boogie Down Productions,
The American Breed,
The Doors,
Barrington Levy,
Ash Ra Tempel,
Angry Samoans,
Big Daddy Kane,
Smog,
ABC,
Toni Rubio,
Minnie Riperton,
Erasure,
A Certain Ratio,
John Lydon,
10cc,
The Gap Band,
Stiv Bators,
Wolf Eyes,
Liliput,
Prince Buster,
Angels of Light & Akron/Family,
Funkadelic,
Matthew Halsall,
Index,
Ponytail,
the Association,
Arthur Verocai,
Kas Product,
Rhythim Is Rhythim,
The Jesus and Mary Chain,
Eric B and Rakim,
Piero Umiliani,
Ituana,
Max Romeo,
The Searchers,
Fort Wilson Riot,
The Fugs,
Siouxsie and the Banshees,
Zapp,
Blossom Toes,
The Toasters,
Radio Birdman,
Gang of Four,
Soft Cell,
U.S. Maple,
Godley & Creme,
Parry Music, Parry Music, Parry Music, Parry Music.
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.