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 Burkina and from Lille.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Girls At Our Best! to the grime 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 Jeru the Damaja. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal techno 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Pere Ubu,
The Slits,
Los Fastidios,
Half Japanese,
Ornette Coleman,
T.S.O.L.,
Aural Exciters,
The Offenders,
The Slackers,
The United States of America,
Eurythmics,
Depeche Mode,
The Sound,
Urselle,
June of 44,
The Remains,
Smog,
Josef K,
Nick Fraelich,
Bill Wells,
Moebius,
Jacques Brel,
Sugar Minott,
Can,
X-Ray Spex,
Marc Almond,
Dark Day,
Barry Ungar,
This Heat,
The Sonics,
Scientists,
Captain Beefheart & His Magic Band,
The Angels of Light,
The Mojo Men,
Lou Reed & John Cale,
Suburban Knight,
Silicon Teens,
Mars,
The Toasters,
Godley & Creme,
Gary Puckett & The Union Gap,
Livin' Joy,
Siglo XX,
Glambeats Corp.,
Masters at Work,
David McCallum,
Nation of Ulysses,
The Index,
Toni Rubio,
Electric Prunes,
Bobby Womack,
Nik Kershaw,
Dave Gahan,
Banda Bassotti,
Cecil Taylor,
Fifty Foot Hose,
D'Angelo,
The Shadows of Knight,
Severed Heads,
Stetsasonic,
Saccharine Trust,
Cameo,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.