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 Trinidad & Tobago and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1978.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Lagos 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Yaz 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 Wasted Youth. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Josef K record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Gories,
Al Stewart,
Adolescents,
Frankie Knuckles,
Scrapy,
New York Dolls,
Moss Icon,
Arcadia,
Deadbeat,
Clear Light,
The Sisters of Mercy,
Duran Duran,
Swell Maps,
Spandau Ballet,
Basic Channel,
Matthew Bourne,
Deakin,
Radiopuhelimet,
Popol Vuh,
Erasure,
Public Image Ltd.,
The West Coast Pop Art Experimental Band,
Brand Nubian,
Pere Ubu,
Andrew Hill,
Pole,
Sarah Menescal,
the Soft Cell,
Faraquet,
Gang Green,
Eric B and Rakim,
Mars,
Roy Ayers Ubiquity,
The Vogues,
Freddie Wadling,
Qualms,
Rhythim Is Rhythim,
Soul II Soul,
Electric Light Orchestra,
Camron Feat. Memphis Bleek And Beenie Seigel,
Notorious BIG live in Amsterdam,
The Motions,
Gerry Rafferty,
Eric Dolphy,
The Fugs,
Roger Hodgson,
Pantytec,
The Monks,
Alphaville,
Derrick May,
AZ,
Visage,
R.M.O.,
Drive Like Jehu,
Intrusion,
New Order,
Rotary Connection,
The Doobie Brothers,
Jerry's Kids,
Crash Course in Science,
Pet Shop Boys,
The Associates, The Associates, The Associates, The Associates.
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.