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 Armenia and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lagos and Glasgow.
I'm losing my edge to the art-school Lagos 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 marimba 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 Crispian St. Peters 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 The Royal Family And The Poor. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
The Fall,
The Litter,
Susan Cadogan,
Thompson Twins,
Ralphi Rosario,
The Cowsills,
Kings Of Tomorrow,
H. Thieme,
Wolf Eyes,
Blossom Toes,
The Toasters,
Barclay James Harvest,
Sonny Sharrock,
Notorious Big And Bone Thugs,
Maurizio,
Mad Mike,
Peter & Gordon,
Aaron Thompson,
Erasure,
The Detroit Cobras,
Todd Terry,
Dave Gahan,
Masters at Work,
the Association,
Liaisons Dangereuses,
LL Cool J,
Japan,
Joe Smooth,
Eric B and Rakim,
Grauzone,
Rahsaan Roland Kirk,
Siouxsie and the Banshees,
Cabaret Voltaire,
The Pretty Things,
Darondo,
Isaac Hayes,
Juan Atkins,
Newcleus,
David Axelrod,
Bizarre Inc.,
Kool G Rap & DJ Polo,
The United States of America,
The Real Kids,
The Stooges,
Terry Callier,
Tres Demented,
The Standells,
Sällskapet,
The Names,
Don Cherry,
Zero Boys,
Ituana,
Gil Scott Heron,
Zapp,
Ken Boothe,
New Order,
Notorious BIG live in Amsterdam,
Danielle Patucci,
Marcia Griffiths,
Mo-Dettes,
the Normal,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.