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 Fiji and from Tokyo.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Manila and Johannesburg.
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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Idris Muhammad to the funk kids.
I played it at the Roxy.
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 Slackers. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Gang Gang Dance 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Mr. Review,
Justin Hinds & The Dominoes,
Porter Ricks,
Gang Green,
In Retrospect,
Sad Lovers and Giants,
Angry Samoans,
Lightning Bolt,
Pet Shop Boys,
Eli Mardock,
Bobby Sherman,
Albert Ayler,
Flash Fearless,
ABC,
Sight & Sound,
Camouflage,
John Coltrane,
48th St. Collective,
Kerrie Biddell,
Bizarre Inc.,
Grandmaster Flash and the Furious Five,
The Moleskins,
Ultimate Spinach,
Thompson Twins,
Alice Coltrane,
The Royal Family And The Poor,
The Blues Magoos,
Sun Ra,
Frankie Knuckles,
Stereo Dub,
The Modern Lovers,
Ash Ra Tempel,
Essential Logic,
New York Dolls,
Hashim,
Dennis Brown,
Sticky Fingaz feat. Raekwon,
Gil Scott Heron,
Joey Negro,
D'Angelo,
Chrome,
Scrapy,
Cecil Taylor,
Crispy Ambulance,
Jandek,
Aural Exciters,
Delon & Dalcan,
Patti Smith,
the Sonics,
Gian Franco Pienzio,
X-101,
Juan Atkins,
Todd Terry,
Schoolly D,
Country Teasers,
Jeff Lynne,
World's Most,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.