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 Bahamas and from Stockholm.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1976.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 rhodes 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 The Monks to the disco 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 The Men They Couldn't Hang. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
These Immortal Souls,
K-Klass,
The Standells,
Sixth Finger,
Gil Scott-Heron & Brian Jackson,
the Association,
Reuben Wilson,
Terror Squad Feat. Camron,
The Martian,
Talk Talk,
Sexual Harrassment,
T.S.O.L.,
Kool Moe Dee,
Bronski Beat,
Donny Hathaway,
World's Most,
Lee Hazlewood,
Rotary Connection,
Procol Harum,
Flash Fearless,
Rufus Thomas,
Amon Düül II,
Grandmaster Flash and the Furious Five,
New Age Steppers,
the Soft Cell,
Heavy D & The Boyz,
Japan,
The Victims,
This Heat,
Chrome,
The Vogues,
Wighnomy Brothers & Robag Wruhme,
the Slits,
Oppenheimer Analysis,
Davy DMX,
Masters at Work,
Mark Hollis,
Erasure,
Black Bananas,
Susan Cadogan,
Eli Mardock,
Hot Snakes,
Jawbox,
Fear,
Traffic Nightmare,
Eric Dolphy,
Ralphi Rosario,
Todd Terry,
F. McDonald,
Junior Murvin,
Drexciya,
Grandmaster Flash,
Maurizio,
The Count Five,
Notorious BIG live in Amsterdam,
Ajijia Myrayebe,
Rowland S Howard / Lydia Lunch,
Mo-Dettes,
Cal Tjader,
the Bar-Kays,
The United States of America,
Wire, Wire, Wire, Wire.
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.