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 Greece and from Shanghai.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Toronto 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Pere Ubu to the funk 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 F. McDonald. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Alton Ellis 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Boogie Down Productions,
Stiv Bators,
The Chocolate Watch Band,
E-Dancer,
Graham Central Station,
PIL,
Nils Olav,
The Martian,
Rapeman,
Glambeats Corp.,
Deakin,
Todd Terry,
Shuggie Otis,
Avey Tare,
Essential Logic,
The Fugs,
Pole,
Sugar Minott,
Siglo XX,
Stereo Dub,
Janne Schatter,
Neil Young & Crazy Horse,
Ituana,
The Monks,
The Raincoats,
Althea and Donna,
Newcleus,
Al Stewart,
Bizarre Inc.,
Minnie Riperton,
Ken Boothe,
John Foxx,
Eric B and Rakim,
Pierre Henry,
Ossler,
Tim Buckley,
Davy DMX,
Half Japanese,
Notorious BIG live in Amsterdam,
Terrestrial Tones,
The Dead C,
Urselle,
Rhythim Is Rhythim,
Public Image Ltd.,
T.S.O.L.,
The Fire Engines,
The Index,
DNA,
Lalann,
Toni Rubio,
The Slackers,
The Shadows of Knight,
Kerri Chandler,
Ten City,
Man Eating Sloth,
James White and The Blacks,
Jeru the Damaja,
Cal Tjader,
Nik Kershaw,
Peter and Kerry,
Wasted Youth,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.