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 Taiwan and from Edmonton.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Cairo and Manchester.
I'm losing my edge to the art-school Accra 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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Grass Roots to the dance kids.
I played it at the Troubador.
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 Mark Hollis. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Richard Hell and the Voidoids,
Reuben Wilson,
Liaisons Dangereuses,
The Fuzztones,
Darondo,
Angry Samoans,
Barry Ungar,
Manfred Mann's Earth Band,
The Stooges,
Camron Feat. Jay Z And Juelz,
Kevin Saunderson,
Negative Approach,
The Electric Prunes,
The Mojo Men,
Quando Quango,
Sound Behaviour,
Porter Ricks,
K-Klass,
Pulsallama,
Fugazi,
Röyhkä ja Rättö ja Lehtisalo,
Jeru the Damaja,
Ken Boothe,
The Sound,
Curtis Mayfield,
The Associates,
Major Organ And The Adding Machine,
Lalo Schifrin,
Black Bananas,
James White and The Blacks,
Rufus Thomas,
Mandrill,
Cabaret Voltaire,
Livin' Joy,
The Shadows of Knight,
Brand Nubian,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Reed & John Cale,
Derrick Morgan,
Jacob Miller,
Average White Band,
Lafayette Afro Rock Band,
Marc Almond,
Spandau Ballet,
Eurythmics,
Scrapy,
The Vogues,
Graham Central Station,
Dark Day,
Deadbeat,
Eric B and Rakim,
Alison Limerick,
Aural Exciters,
Absolute Body Control,
The Gladiators,
John Holt,
Roxy Music,
Shoche,
Fad Gadget,
Television,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.