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 Philippines and from Glasgow.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Johannesburg 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 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 Anthony Braxton to the jazz kids.
I played it at CBGB's.
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 Niagra. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Gichy Dan,
Absolute Body Control,
Echo & the Bunnymen,
Rhythm & Sound,
Thompson Twins,
Barrington Levy,
Aural Exciters,
Donald Byrd,
World's Most,
Rakim,
Silicon Teens,
10cc,
The Black Dice,
The Residents,
Bill Wells,
Jawbox,
Section 25,
Lou Reed & John Cale,
June of 44,
The Detroit Cobras,
Mission of Burma,
Skaos,
The Kinks,
Quando Quango,
Neu!,
Aloha Tigers,
Boz Scaggs,
Lower 48,
The Mummies,
Average White Band,
Pierre Henry,
Eli Mardock,
Rahsaan Roland Kirk,
L. Decosne,
Subhumans,
Pole,
Mark Hollis,
Roy Ayers,
Rites of Spring,
Mo-Dettes,
Gong,
Maurizio,
Orchestral Manoeuvres in the Dark,
Unrelated Segments,
The Cosmic Jokers,
Gabor Szabo,
The Mojo Men,
Leonard Cohen,
Jerry Gold Smith,
Wally Richardson,
Bang On A Can,
Freddie Wadling,
New Age Steppers,
Fifty Foot Hose,
Bobbi Humphrey,
Ornette Coleman,
Lyres,
Massinfluence,
Slick Rick,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.