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 San Marino and from Lille.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school Bologna 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 guitar 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 Warren Ellis to the electroclash kids.
I played it at the Astoria.
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 Faraquet. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
The J.B.'s,
Peter & Gordon,
Masters at Work,
X-Ray Spex,
Gong,
The Gap Band,
Deutsch Amerikanische Freundschaft,
Sex Pistols,
Sugar Minott,
Ludus,
Groovy Waters,
Excepter,
Accadde A,
Stereo Dub,
Boogie Down Productions,
Hardrive,
Malaria!,
Amazonics,
Moby Grape,
The Red Krayola,
Skaos,
The Dave Clark Five,
Crime,
Johnny Clarke,
The Names,
The Move,
X-101,
Inner City,
Theoretical Girls,
Rod Modell,
Heaven 17,
Rowland S Howard / Lydia Lunch,
the Soft Cell,
Eric Dolphy,
Au Pairs,
Deakin,
Kauko Röyhkä ja Narttu,
Skarface,
Black Flag,
DeepChord presents Echospace,
Tubeway Army,
The Gladiators,
Bob Dylan,
Lou Reed & John Cale,
The Star Department,
Ultimate Spinach,
The Dirtbombs,
Deadbeat,
Wasted Youth,
Angry Samoans,
Average White Band,
Scott Walker,
The Neon Judgement,
Jerry Gold Smith,
Flash Fearless,
Bobbi Humphrey,
Fatback Band,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.