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 Papua New Guinea and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Mumbai 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Scott Walker to the electroclash kids.
I played it at the Astoria.
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 The Saints. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Josef K,
Roy Ayers,
Tropical Tobacco,
Easy Going,
Sonic Youth,
Kaleidoscope,
Tears for Fears,
Mantronix,
Toni Rubio,
Joe Smooth,
Lightning Bolt,
Rhythim Is Rhythim,
Byron Stingily,
Ohio Players,
Harpers Bizarre,
Das Ding,
Kool G Rap & DJ Polo,
Prince Buster,
Simply Red,
Man Eating Sloth,
Howard Jones,
Slick Rick,
Lou Reed & Metallica,
The Mummies,
Nils Olav,
London Community Gospel Choir,
John Cale,
Underground Resistance,
Cal Tjader,
Pulsallama,
A Flock of Seagulls,
LL Cool J,
Flamin' Groovies,
Heaven 17,
Peter Gordon & Love of Life Orchestra,
Interpol,
Deakin,
R.M.O.,
Yellowson,
Depeche Mode,
The Doobie Brothers,
Faraquet,
Wolf Eyes,
Jesper Dahlback,
Curtis Mayfield,
Throbbing Gristle,
Kayak,
Soft Machine,
Moss Icon,
Gerry Rafferty,
Joy Division,
Rosa Yemen,
Grandmaster Flash,
Robert Hood,
Traffic Nightmare,
The Human League,
Monolake,
Excepter,
Robert Görl,
Kurtis Blow,
Quantec,
the Germs, the Germs, the Germs, the Germs.
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.