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 Finland and from Portland.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Houston 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Richard Hell and the Voidoids to the grime kids.
I played it at the 40 Watt.
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 Electric Prunes. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Gang Starr 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Matthew Bourne,
Derrick Morgan,
The Monks,
The Detroit Cobras,
Los Fastidios,
Monks,
Stiv Bators,
Metal Thangz,
Black Sheep,
Khruangbin,
Man Parrish,
Index,
Crispian St. Peters,
Fugazi,
Sandy B,
Neil Young,
The Flesh Eaters,
The West Coast Pop Art Experimental Band,
Ronan,
Visage,
Ultravox,
The Golliwogs,
Mo-Dettes,
Freddie Wadling,
Rufus Thomas,
Dawn Penn,
Essential Logic,
Avey Tare's Slasher Flicks,
Josef K,
Thompson Twins,
Sun Ra Arkestra,
Notorious Big And Bone Thugs,
Eden Ahbez,
Visionaries,LMNO, T- Love & Iriscience,
Accadde A,
The Sisters of Mercy,
The Motions,
Gil Scott-Heron and Jamie xx,
Major Organ And The Adding Machine,
Judy Mowatt,
Cameo,
The Smoke,
Saccharine Trust,
The Cosmic Jokers,
Bauhaus,
Deutsch Amerikanische Freundschaft,
Circle Jerks,
The Smiths,
The Doobie Brothers,
Heavy D & The Boyz,
Teenage Jesus and the Jerks,
The Real Kids,
Marc Romboy vs. Booka Shade,
The Zeros,
The Human League,
Sex Pistols,
Peter and Kerry,
Kayak,
Thee Headcoats,
Avey Tare & Kría Brekkan,
Porter Ricks,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.