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 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 1965 to 1975.
I'm losing my edge.
To all the kids in Paris and Halifax.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Matthew Halsall to the dance kids.
I played it at the Roxy.
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 Television. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men 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?
Saccharine Trust,
Cheater Slicks,
Gil Scott-Heron & Brian Jackson,
Echo & the Bunnymen,
A Flock of Seagulls,
Sonic Youth,
Matthew Bourne,
The Monks,
The Misunderstood,
La Düsseldorf,
Skarface,
Wings,
Minny Pops,
Severed Heads,
cv313,
Gil Scott-Heron and Jamie xx,
Alison Limerick,
Oppenheimer Analysis,
Ten City,
Visionaries,LMNO, T- Love & Iriscience,
Hardrive,
Unwound,
The Modern Lovers,
Dr. Dre and Snoop Doggy Dog,
Manfred Mann's Earth Band,
Warsaw,
Panda Bear,
Gichy Dan,
Art Ensemble Of Chicago,
D'Angelo,
Jeff Lynne,
The Wake,
The Star Department,
DeepChord presents Echospace,
Reuben Wilson,
Bootsy Collins,
Fatback Band,
Fat Boys,
Barrington Levy,
Ken Boothe,
Public Enemy,
Dennis Brown,
Joensuu 1685,
Brass Construction,
R.M.O.,
Bootsy's Rubber Band,
Jerry's Kids,
Anakelly,
The New Christs,
Chris & Cosey,
Porter Ricks,
John Foxx,
Surgeon,
Rapeman,
The Shadows of Knight,
Procol Harum,
Cameo,
The Human League,
Technova,
The Moody Blues,
The Selecter,
Sexual Harrassment,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.