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 Tanzania and from Hong Kong.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Associates to the funk 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 Zero Boys. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Ronan 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Pharaoh Sanders and the Fire Engines,
Minnie Riperton,
Gastr Del Sol,
Bootsy's Rubber Band,
Throbbing Gristle,
Cluster,
Surgeon,
Popol Vuh,
Ice-T,
The Misunderstood,
The Dave Clark Five,
The Blues Magoos,
Amon Düül,
Pierre Henry,
Kings Of Tomorrow,
Joe Finger,
Japan,
Crooked Eye,
Rhythm & Sound,
Crash Course in Science,
Nation of Ulysses,
E-Dancer,
The Selecter,
Tom Boy,
Albert Ayler,
Strawberry Alarm Clock,
The Smoke,
the Slits,
The Sisters of Mercy,
Mr. Review,
Sonic Youth,
Rhythim Is Rhythim,
Black Flag,
Mars,
a-ha,
Jacques Brel,
Max Romeo,
Ronnie Foster,
Malaria!,
Selector Dub Narcotic,
John Cale,
Lalann,
Marine Girls,
Rahsaan Roland Kirk,
Average White Band,
Zapp,
Suburban Knight,
Terrestrial Tones,
Zero Boys,
Byron Stingily,
Stereo Dub,
Severed Heads,
Shuggie Otis,
Bad Manners,
Amazonics,
The Birthday Party,
Neil Young & Crazy Horse,
the Soft Cell,
Brick, Brick, Brick, Brick.
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.