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 Netherlands and from Taipei.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school New York 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Hasil Adkins to the electroclash kids.
I played it at the Crocodile.
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 Inner City. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Orchestral Manoeuvres in the Dark,
the Bar-Kays,
Prince Buster,
Tropical Tobacco,
Sam Rivers,
Newcleus,
New Order,
The Vogues,
Accadde A,
Josef K,
Franke,
cv313,
The Barracudas,
The Human League,
Minutemen,
Alphaville,
Davy DMX,
Liaisons Dangereuses,
Model 500,
Warsaw,
The Toasters,
Yusef Lateef,
Bootsy Collins,
Ash Ra Tempel,
Richard Hell and the Voidoids,
Traffic Nightmare,
Freddie Wadling,
Essential Logic,
Connie Case,
The Mighty Diamonds,
Wolf Eyes,
Flamin' Groovies,
Al Stewart,
Bauhaus,
The Leaves,
Kango’s Stein Massive,
D'Angelo,
Bizarre Inc.,
U.S. Maple,
Von Mondo,
Eric B and Rakim,
Colin Newman,
The Cowsills,
Sonic Youth,
The Invisible,
Intrusion,
Amazonics,
Johnny Osbourne,
Jeff Mills,
Wally Richardson,
Ronnie Foster,
Lindisfarne,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Vaughan Mason & Crew,
The Litter,
Susan Cadogan,
Marc Almond,
Audionom,
One Last Wish,
The Motions,
Slave, Slave, Slave, Slave.
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.