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 South Africa and from Delhi.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 Marmalade to the grime kids.
I played it at the Roxy.
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 Agent Orange. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Los Fastidios,
Erykah Badu,
The Vogues,
Yusef Lateef,
Thompson Twins,
Parry Music,
New York Dolls,
Maleditus Sound,
Second Layer,
Bang On A Can,
DJ Sneak,
Arab on Radar,
Todd Terry,
Oneida,
Aaron Thompson,
Slick Rick,
Sex Pistols,
The Moody Blues,
CMW,
The Zeros,
Lakeside,
The Techniques,
Goldenarms,
Crime,
Ultravox,
Sugar Minott,
Tres Demented,
Strawberry Alarm Clock,
Trumans Water,
The Slits,
Todd Rundgren,
Symarip,
Skriet,
Flamin' Groovies,
Kauko Röyhkä ja Narttu,
David Axelrod,
X-101,
Larry & the Blue Notes,
Sam Rivers,
Brass Construction,
Blossom Toes,
Index,
Kevin Saunderson,
Sound Behaviour,
Chris Corsano,
Cybotron,
Negative Approach,
The New Christs,
The Last Poets,
The Star Department,
Michelle Simonal,
Black Moon,
The Golliwogs,
Blancmange,
Scion,
The Misunderstood,
Bang on a Can All-Stars,
Derrick May,
Johnny Clarke,
James Chance & The Contortions,
The Happenings,
Lou Reed & Metallica,
Icehouse, Icehouse, Icehouse, Icehouse.
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.