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 Malaysia and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
I'm losing my edge to the art-school London 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Sisters of Mercy to the rap kids.
I played it at the Troubador.
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 Ponytail. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Audionom,
The Divine Comedy,
Avey Tare,
Shuggie Otis,
Nick Cave & The Bad Seeds,
E-Dancer,
Sly & The Family Stone,
Kings Of Tomorrow,
Anakelly,
Jawbox,
Schoolly D,
Harmonia,
Make Up,
The Zeros,
Amazonics,
Tubeway Army,
Josef K,
Boredoms,
Magazine,
Scion,
Aloha Tigers,
Brick,
Scientists,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barry Ungar,
The United States of America,
Massinfluence,
The Vogues,
Sound Behaviour,
U.S. Maple,
Lou Christie,
The Mummies,
Rapeman,
The Residents,
The Sound,
Pierre Henry,
Public Enemy,
Kauko Röyhkä ja Narttu,
Ultravox,
Alphaville,
the Fania All-Stars,
ABBA,
Soft Machine,
The Pop Group,
Fifty Foot Hose,
The Smiths,
Bad Manners,
David McCallum,
Ash Ra Tempel,
The Golliwogs,
Manfred Mann's Earth Band,
Pere Ubu,
Dennis Brown,
The Cowsills,
Selector Dub Narcotic,
Aswad,
Reagan Youth,
The Associates,
the Swans,
Man Eating Sloth,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.