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 Austria and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 Mumbai and Houston.
I'm losing my edge to the art-school Salvador 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 808 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 Martian to the electroclash kids.
I played it at the 40 Watt.
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 Barrington Levy. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
E-Dancer,
Agent Orange,
Marine Girls,
Supertramp,
Basic Channel,
X-102,
The Remains,
The Busters,
The Tremeloes,
Kango’s Stein Massive,
The Fuzztones,
Aural Exciters,
Vladislav Delay,
Pharoah Sanders,
Sister Nancy,
Rakim,
The Jesus and Mary Chain,
David Axelrod,
The Angels of Light,
Joensuu 1685,
Masters at Work,
The Young Rascals,
Parry Music,
Susan Cadogan,
Mad Mike,
Bluetip,
Avey Tare's Slasher Flicks,
The Fugs,
Oblivians,
Swans,
Gang of Four,
June Days,
Ornette Coleman,
Steve Hackett,
Grauzone,
Camouflage,
Andrew Ashong & Theo Parrish,
Lebanon Hanover,
A Flock of Seagulls,
Qualms,
Angels of Light & Akron/Family,
The Durutti Column,
the Normal,
T. Rex,
Soul II Soul,
Circle Jerks,
Swell Maps,
Althea and Donna,
Idris Muhammad,
John Lydon,
Soft Machine,
Thee Headcoats,
Rekid,
Mars,
Grey Daturas,
The Standells,
Radiopuhelimet,
These Immortal Souls,
Make Up,
Glambeats Corp.,
London Community Gospel Choir,
The Moody Blues,
Motorama, Motorama, Motorama, Motorama.
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.