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 Korea North and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1973.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Columbus 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 harpsichord 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 Zeros to the funk kids.
I played it at the Crocodile.
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 Lizzy Mercier Descloux. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
The Walker Brothers,
The Tremeloes,
Sister Nancy,
Byron Stingily,
the Bar-Kays,
Pere Ubu,
Negative Approach,
DeepChord presents Echospace,
The Monochrome Set,
John Holt,
The Grass Roots,
Moebius,
It's A Beautiful Day,
The Knickerbockers,
Duran Duran,
Trumans Water,
Cameo,
Matthew Bourne,
Slick Rick,
The Doors,
Lou Christie,
Fifty Foot Hose,
Barry Ungar,
Cybotron,
Todd Rundgren,
the Fania All-Stars,
In Retrospect,
Kings Of Tomorrow,
Lou Reed & John Cale,
The Angels of Light,
Davy DMX,
Andrew Hill,
Main Source,
Roxette,
The Slackers,
Skarface,
Lebanon Hanover,
Harpers Bizarre,
Fort Wilson Riot,
Johnny Osbourne,
Magma,
Anthony Braxton,
Nas,
Brass Construction,
Hasil Adkins,
Young Marble Giants,
Angels of Light & Akron/Family,
Teenage Jesus and the Jerks,
Jerry Gold Smith,
The Trojans,
Oblivians,
PIL,
Marc Almond,
The Motions,
Ronnie Foster,
Kevin Saunderson,
The Star Department,
Barrington Levy,
Eve St. Jones,
Stockholm Monsters,
Babytalk,
Glenn Branca,
Monks, Monks, Monks, Monks.
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.