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 Brazil and from Accra.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Bremen and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Ultravox to the punk kids.
I played it at the Roxy.
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 Infiniti. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every The Gladiators 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column 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?
Man Parrish,
Alphaville,
Bauhaus,
The Skatalites,
The Royal Family And The Poor,
Jerry Gold Smith,
Jerry's Kids,
The Dead C,
Bad Manners,
Au Pairs,
Connie Case,
Qualms,
Yazoo,
Aloha Tigers,
Zapp,
Suburban Knight,
Terrestrial Tones,
Ultra Naté,
Heavy D & The Boyz,
Livin' Joy,
Thinking Fellers Union Local 282,
Warren Ellis,
The Dirtbombs,
Kool G Rap & DJ Polo,
Brass Construction,
H. Thieme,
Derrick Morgan,
The Sound,
The Smoke,
The Index,
Funky Four + One,
Ajijia Myrayebe,
Morten Harket,
Tom Boy,
Rod Modell,
The Modern Lovers,
Roy Ayers Ubiquity,
Nik Kershaw,
The Peanut Butter Conspiracy,
Lebanon Hanover,
Main Source,
Tears for Fears,
Kango’s Stein Massive,
Moby Grape,
These Immortal Souls,
Gabor Szabo,
Sly & The Family Stone,
Wasted Youth,
Motorama,
Parry Music,
The Barracudas,
Deakin,
Gil Scott-Heron and Jamie xx,
Delta 5,
The Wake,
Tres Demented,
The Grass Roots,
Sound Behaviour,
Trumans Water,
Sad Lovers and Giants,
Jawbox,
The Trojans,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.