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 Eritrea and from Paris.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1977.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Lille 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Matthew Halsall to the dance kids.
I played it at the 40 Watt.
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 This Heat. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Fluxion,
Lucky Dragons,
Flipper,
The Move,
Eurythmics,
The Evens,
Von Mondo,
Kevin Saunderson,
Alphaville,
Carl Craig,
Althea and Donna,
Stetsasonic,
Super Lover Cee & Casanova Rud,
Fat Boys,
Pussy Galore,
Donald Byrd,
Crash Course in Science,
Mandrill,
Cabaret Voltaire,
Eden Ahbez,
kango's stein massive,
Pete Rock & C.L. Smooth,
The Fire Engines,
The Flesh Eaters,
Terrestrial Tones,
China Crisis,
Monks,
The Real Kids,
Matthew Bourne,
The Durutti Column,
Letta Mbulu,
Bill Near,
Manfred Mann's Earth Band,
Second Layer,
Little Man,
Whodini,
Morten Harket,
Peter Gordon & Love of Life Orchestra,
Connie Case,
Black Pus,
Glambeats Corp.,
Rhythm & Sound,
Gregory Isaacs,
Peter and Kerry,
Heavy D & The Boyz,
Sonic Youth,
Tomorrow,
The Wake,
Eric Dolphy,
Absolute Body Control,
June Days,
Marmalade,
Groovy Waters,
Sunsets and Hearts,
James Chance & The Contortions,
Dual Sessions,
John Lydon,
Pulsallama,
Subhumans,
Crime,
The Invisible, The Invisible, The Invisible, The Invisible.
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.