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 Denmark and from Portland.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Scrapy to the disco kids.
I played it at CBGB's.
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 Ultra Naté. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Teenage Jesus and the Jerks,
Bobby Hutcherson,
Art Ensemble Of Chicago,
Thompson Twins,
Al Stewart,
R.M.O.,
48th St. Collective,
Maurizio,
Tommy Roe,
Monks,
Althea and Donna,
The Sound,
X-Ray Spex,
Gary Puckett & The Union Gap,
Oppenheimer Analysis,
Crispy Ambulance,
Deakin,
The Red Krayola,
Fort Wilson Riot,
H. Thieme,
Marc Almond,
The Skatalites,
Albert Ayler,
Bob Dylan,
Skaos,
Sonny Sharrock,
Deadbeat,
Gong,
The Smoke,
Shoche,
The Knickerbockers,
Yellowson,
Kool Moe Dee,
Rhythim Is Rhythim,
The Slits,
The Misunderstood,
Guru Guru,
The Walker Brothers,
Vaughan Mason & Crew,
Sugar Minott,
Slick Rick,
Siouxsie and the Banshees,
Lungfish,
Cabaret Voltaire,
Heaven 17,
L. Decosne,
The Music Machine,
The Tremeloes,
The Zeros,
Young Marble Giants,
Anakelly,
Eric Dolphy,
Spoonie Gee,
The Detroit Cobras,
June of 44,
Amazonics,
Graham Central Station,
Faust,
The Smiths,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.