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 Seychelles and from Bologna.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Grandmaster Flash and the Furious Five to the disco 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 Moss Icon. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
The Move,
Kaleidoscope,
Skaos,
Grauzone,
Anthony Braxton,
Kings Of Tomorrow,
Mandrill,
Ituana,
Electric Prunes,
These Immortal Souls,
Section 25,
Lou Christie,
Stiv Bators,
Shoche,
Silicon Teens,
David Axelrod,
Smog,
Sex Pistols,
The Buckinghams,
Lou Reed,
The Modern Lovers,
Pagans,
Monks,
Minnie Riperton,
Arcadia,
John Coltrane,
Public Image Ltd.,
Graham Central Station,
DNA,
Schoolly D,
Jerry Gold Smith,
Barbara Tucker,
The Blues Magoos,
Gang Gang Dance,
Michelle Simonal,
Spoonie Gee,
Lungfish,
Circle Jerks,
Essential Logic,
Pussy Galore,
X-Ray Spex,
The Stooges,
Procol Harum,
Charles Mingus,
Eurythmics,
FM Einheit,
48th St. Collective,
Blancmange,
Oppenheimer Analysis,
Technova,
The Dirtbombs,
The Black Dice,
Gian Franco Pienzio,
The Chocolate Watch Band,
James White and The Blacks,
Nation of Ulysses,
Eve St. Jones,
Beasts of Bourbon,
The Smiths,
Second Layer,
Gary Puckett & The Union Gap,
Wings, Wings, Wings, Wings.
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.