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 Saudi Arabia and from Madrid.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Shanghai 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 Human League practice in a loft in Sheffield.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Heaven 17 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 Hoover. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
The Victims,
Röyhkä ja Rättö ja Lehtisalo,
Robert Görl,
The Wake,
Warren Ellis,
Joy Division,
Skarface,
Gang Starr,
Rod Modell,
Slave,
Tom Boy,
The Walker Brothers,
Buzzcocks,
Ten City,
Bootsy Collins,
Wire,
Oppenheimer Analysis,
Neil Young,
Neu!,
Throbbing Gristle,
Ultra Naté,
The Gap Band,
Glenn Branca,
Major Organ And The Adding Machine,
The Litter,
The Skatalites,
John Foxx,
Nation of Ulysses,
The Dead C,
The Selecter,
Fort Wilson Riot,
Blancmange,
The Red Krayola,
Teenage Jesus and the Jerks,
Gian Franco Pienzio,
Soul Sonic Force,
The Standells,
Marcia Griffiths,
Accadde A,
Schoolly D,
Negative Approach,
Grey Daturas,
F. McDonald,
Suicide,
Blake Baxter,
Avey Tare,
Kevin Saunderson,
The Monochrome Set,
Sun City Girls,
Symarip,
ABBA,
The Birthday Party,
CMW,
Black Pus,
Notorious BIG live in Amsterdam,
Suburban Knight,
Crash Course in Science,
Bronski Beat,
Camberwell Now,
Sixth Finger,
Marshall Jefferson,
B.T. Express,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.