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 United States and from Taipei.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Tehran 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 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 Ultravox to the rock kids.
I played it at the Crocodile.
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 Metal Thangz. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
The Victims,
Black Pus,
Kool G Rap & DJ Polo,
Pierre Henry,
Dawn Penn,
Letta Mbulu,
Dave Gahan,
Eli Mardock,
The Saints,
Bobby Byrd,
One Last Wish,
Quadrant,
Soft Cell,
Visionaries,LMNO, T- Love & Iriscience,
Clear Light,
Smog,
Aural Exciters,
Dead Boys,
Crispian St. Peters,
Siouxsie and the Banshees,
Soulsonic Force,
DNA,
E-Dancer,
Wolf Eyes,
Nils Olav,
Altered Images,
Boredoms,
PIL,
The Zeros,
Alison Limerick,
Rufus Thomas,
Frankie Knuckles,
Jerry Gold Smith,
Mr. Review,
Janne Schatter,
Kauko Röyhkä ja Narttu,
Lee Hazlewood,
Lungfish,
Massinfluence,
Gastr Del Sol,
Anakelly,
Pulsallama,
Sight & Sound,
Arcadia,
Thompson Twins,
Shoche,
The Gladiators,
Yaz,
Soul II Soul,
Sun Ra,
Country Joe & The Fish,
Theoretical Girls,
Inner City,
The Skatalites,
John Lydon,
Second Layer,
The Slits,
Harry Pussy,
The Monks,
John Coltrane,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.