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 Nicaragua and from Milan.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Bill Wells to the punk 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 The Barracudas. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Flipper 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Idris Muhammad,
The Barracudas,
Motorama,
Oblivians,
Boredoms,
Albert Ayler,
Warren Ellis,
The Dirtbombs,
Josef K,
Connie Case,
The Tremeloes,
Mark Hollis,
Bobby Byrd,
Aswad,
Lou Reed & John Cale,
Amazonics,
The Star Department,
Camberwell Now,
Soul Sonic Force,
Soft Machine,
Brand Nubian,
Dark Day,
Barry Ungar,
Brothers Johnson,
Manfred Mann's Earth Band,
Circle Jerks,
The Cure,
The Names,
The Kinks,
Groovy Waters,
Super Lover Cee & Casanova Rud,
Duran Duran,
Jacques Brel,
Scrapy,
The Searchers,
Masters at Work,
Yellowson,
R.M.O.,
Crime,
Peter and Kerry,
Derrick May,
Sarah Menescal,
Rhythm & Sound,
E-Dancer,
Infiniti,
Wire,
Black Sheep,
The Gun Club,
Dawn Penn,
Pantytec,
Fort Wilson Riot,
June Days,
Easy Going,
Louis and Bebe Barron,
LL Cool J,
Television,
Sunsets and Hearts,
Angry Samoans,
Althea and Donna,
Harmonia, Harmonia, Harmonia, Harmonia.
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.