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 Czech Republic and from Johannesburg.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Paris 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 1976 at the first Wire practice in a loft in Watford.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Eurythmics to the grime kids.
I played it at the Crocodile.
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 Moebius. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every The Smiths 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
The Chocolate Watch Band,
Nas,
Clear Light,
Anakelly,
The Residents,
Nico,
Jacob Miller,
Grauzone,
Niagra,
Rhythm & Sound,
B.T. Express,
Ohio Players,
The Red Krayola,
Pharoah Sanders,
Bob Dylan,
Teenage Jesus and the Jerks,
Slick Rick,
Barry Ungar,
Excepter,
Jesper Dahlbäck,
New Order,
Kool Moe Dee,
June Days,
Kango’s Stein Massive,
Fad Gadget,
The Blackbyrds,
Fifty Foot Hose,
Röyhkä ja Rättö ja Lehtisalo,
Liaisons Dangereuses,
Quantec,
Aural Exciters,
Idris Muhammad,
Oneida,
Rhythim Is Rhythim,
The Moody Blues,
Ajijia Myrayebe,
Throbbing Gristle,
Eric B and Rakim,
Crime,
Country Teasers,
Masters at Work,
The Cosmic Jokers,
Maurizio,
Boogie Down Productions,
Saccharine Trust,
K-Klass,
The Litter,
Flipper,
Basic Channel,
Fort Wilson Riot,
The Kinks,
Ornette Coleman,
Marcia Griffiths,
AZ,
Dead Boys,
Nation of Ulysses,
Cheater Slicks,
LL Cool J,
Sight & Sound,
The Walker Brothers,
The Techniques,
Organ,
Thee Headcoats,
June of 44, June of 44, June of 44, June of 44.
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.