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 Dominica and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
I'm losing my edge to the art-school Manila 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 arpeggiator 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 Barclay James Harvest to the rock kids.
I played it at the Spitz.
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 Grey Daturas. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal rap 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 oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Bronski Beat,
The Walker Brothers,
the Fania All-Stars,
Avey Tare's Slasher Flicks,
The Angels of Light,
The West Coast Pop Art Experimental Band,
Flipper,
A Flock of Seagulls,
ABBA,
Bush Tetras,
Terry Callier,
Neu!,
Max Romeo,
David Axelrod,
Red Lorry Yellow Lorry,
Hot Snakes,
Intrusion,
Sight & Sound,
Rapeman,
Scan 7,
The Names,
Quantec,
Neil Young & Crazy Horse,
The Real Kids,
London Community Gospel Choir,
Ice-T,
Iggy Pop,
Sexual Harrassment,
Harmonia,
Echo & the Bunnymen,
Soul II Soul,
Reagan Youth,
Sly & The Family Stone,
Colin Newman,
The American Breed,
Bobby Hutcherson,
Sandy B,
Delon & Dalcan,
Slave,
Groovy Waters,
Simply Red,
Darondo,
Schoolly D,
Nas,
Amazonics,
Pete Rock & C.L. Smooth,
Circle Jerks,
Don Cherry,
the Bar-Kays,
Lebanon Hanover,
Minor Threat,
Radio Birdman,
FM Einheit,
The Sonics,
Freddie Wadling,
Lakeside,
Tears for Fears,
Kayak,
The Gap Band,
R.M.O., R.M.O., R.M.O., R.M.O..
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.