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 Tajikistan 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 1975.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Zero Boys to the rap 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 Kerri Chandler. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Sad Lovers and Giants,
Terry Callier,
Black Moon,
Negative Approach,
Jesper Dahlback,
Curtis Mayfield,
Gregory Isaacs,
Royal Trux,
Outsiders,
Tommy Roe,
Kerrie Biddell,
Hot Snakes,
Amon Düül,
Nico,
Make Up,
Jawbox,
Boogie Down Productions,
Johnny Osbourne,
New York Dolls,
Wasted Youth,
Aural Exciters,
The Jesus and Mary Chain,
Angry Samoans,
The Misunderstood,
Los Fastidios,
Kaleidoscope,
The Doors,
Robert Hood,
T.S.O.L.,
The Raincoats,
Moss Icon,
The Dead C,
Peter and Kerry,
Roy Ayers Ubiquity,
The Dirtbombs,
Rosa Yemen,
Porter Ricks,
Pet Shop Boys,
Brand Nubian,
Pantytec,
Can,
Dave Gahan,
Japan,
Fluxion,
Bill Near,
the Fania All-Stars,
Bootsy's Rubber Band,
Ultramagnetic MC's,
The Music Machine,
Byron Stingily,
Quando Quango,
Arthur Verocai,
Stockholm Monsters,
Boz Scaggs,
Jimmy McGriff,
Bobby Hutcherson,
The Sound,
The Grass Roots,
Minny Pops,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.