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 Gambia and from Houston.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Calgary and Stockholm.
I'm losing my edge to the art-school Paris 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 Alison Limerick 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 The Motions. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Television Personalities,
Sun City Girls,
Peter & Gordon,
Grey Daturas,
Röyhkä ja Rättö ja Lehtisalo,
Slave,
Colin Newman,
Das Ding,
Rod Modell,
Dave Gahan,
Boogie Down Productions,
The Selecter,
Cabaret Voltaire,
Kurtis Blow,
Maleditus Sound,
The Doors,
Brick,
Andrew Ashong & Theo Parrish,
Dual Sessions,
Hardrive,
Tomorrow,
Bad Manners,
Rowland S Howard / Lydia Lunch,
The Mummies,
Flamin' Groovies,
The Divine Comedy,
The Royal Family And The Poor,
R.M.O.,
China Crisis,
Sun Ra,
Bobbi Humphrey,
Buzzcocks,
Drive Like Jehu,
Bang on a Can All-Stars,
Marmalade,
Sarah Menescal,
ABC,
Bush Tetras,
These Immortal Souls,
Davy DMX,
Terror Squad Feat. Camron,
Altered Images,
Pharoah Sanders,
Eric Copeland,
Roger Hodgson,
Marc Romboy vs. Booka Shade,
Black Bananas,
Fluxion,
10cc,
Icehouse,
Barry Ungar,
The Dirtbombs,
Oppenheimer Analysis,
Crispy Ambulance,
The Slits,
Duran Duran,
Cal Tjader,
Public Image Ltd.,
Carl Craig,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.