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 Antigua and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Columbus 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Cowsills to the grime 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 Roxette. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Big Daddy Kane 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
The Beau Brummels,
Heavy D & The Boyz,
Rosa Yemen,
X-101,
Quadrant,
Mandrill,
Jerry's Kids,
Lightning Bolt,
Lou Christie,
New Age Steppers,
Man Parrish,
Flipper,
Delon & Dalcan,
Tears for Fears,
X-Ray Spex,
Susan Cadogan,
John Cale,
Gregory Isaacs,
Ice-T,
Grandmaster Flash and the Furious Five,
Interpol,
Radiopuhelimet,
Oneida,
Roger Hodgson,
Jerry Gold Smith,
Urselle,
Barclay James Harvest,
Fluxion,
Prince Buster,
Ronan,
Guru Guru,
The Index,
The Men They Couldn't Hang,
Judy Mowatt,
Andrew Ashong & Theo Parrish,
The Mighty Diamonds,
Blossom Toes,
Fela Kuti,
Bronski Beat,
Jacob Miller,
Davy DMX,
Ten City,
Visionaries,LMNO, T- Love & Iriscience,
The Fuzztones,
Bootsy Collins,
Richard Hell and the Voidoids,
Sällskapet,
Piero Umiliani,
Roy Ayers,
Pet Shop Boys,
Kauko Röyhkä ja Narttu,
John Lydon,
Jacques Brel,
Jesper Dahlbäck,
Selector Dub Narcotic,
Warsaw,
Young Marble Giants,
The Pop Group,
Yaz,
Funkadelic,
The Motions, The Motions, The Motions, The Motions.
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.