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 Mauritius and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
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 1983 at the first Art of Noise practice in a loft in London.
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 The Vogues to the funk 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 Joey Negro. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Smog 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
The Zeros,
Derrick Morgan,
Sun Ra,
Eden Ahbez,
Bluetip,
The Misunderstood,
Franke,
The Remains,
Lebanon Hanover,
John Foxx,
Nas,
Fad Gadget,
Henry Cow,
CMW,
Oblivians,
The Cosmic Jokers,
Lou Christie,
Gary Puckett & The Union Gap,
The Velvet Underground,
Judy Mowatt,
Justin Hinds & The Dominoes,
MDC,
Fatback Band,
The Litter,
L. Decosne,
the Normal,
Eurythmics,
The Doors,
Röyhkä ja Rättö ja Lehtisalo,
Heaven 17,
Newcleus,
the Association,
Amazonics,
Qualms,
Sound Behaviour,
Andrew Ashong & Theo Parrish,
The Vogues,
Tommy Roe,
Intrusion,
Skarface,
Avey Tare,
Be Bop Deluxe,
Banda Bassotti,
Sällskapet,
Marmalade,
Steve Hackett,
Neil Young,
Sunsets and Hearts,
Faraquet,
Kerri Chandler,
Cal Tjader,
Mars,
Lungfish,
Soft Cell,
Connie Case,
Sun City Girls,
Erasure,
Sonic Youth,
Sad Lovers and Giants,
Chris & Cosey,
Barry Ungar,
Radiohead, Radiohead, Radiohead, Radiohead.
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.