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 New Zealand and from Manila.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Calgary 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Mark Hollis to the rap kids.
I played it at the Hacienda.
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 Dual Sessions. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Ludus 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Heaven 17,
Sixth Finger,
Sugar Minott,
Erasure,
Faraquet,
The Smiths,
ABBA,
Amazonics,
The Cowsills,
Mo-Dettes,
The Cure,
Mandrill,
Gil Scott Heron,
Kas Product,
Morten Harket,
Cluster,
Bizarre Inc.,
Minny Pops,
Avey Tare & Kría Brekkan,
Amon Düül,
Clear Light,
New Order,
The Raincoats,
Derrick Morgan,
Toni Rubio,
Japan,
De La Soul & Jungle Brothers,
Neil Young,
Mad Mike,
Theoretical Girls,
David McCallum,
Deakin,
John Lydon,
Stereo Dub,
Quando Quango,
Subhumans,
Pagans,
Kauko Röyhkä ja Narttu,
Lakeside,
Terrestrial Tones,
Silicon Teens,
Nas,
Eric Dolphy,
Flash Fearless,
Electric Prunes,
Soft Machine,
Camberwell Now,
Arthur Verocai,
The Remains,
Organ,
Kerri Chandler,
Ten City,
Absolute Body Control,
Alice Coltrane,
Donny Hathaway,
the Normal,
Public Image Ltd.,
Tommy Roe,
Section 25,
Accadde A, Accadde A, Accadde A, Accadde A.
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.