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 Latvia and from Lagos.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Lyon.
I'm losing my edge to the art-school Manila 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar 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 the Bar-Kays to the disco kids.
I played it at the Hacienda.
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 Motorama. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Erykah Badu record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Isaac Hayes,
The New Christs,
Prince Buster,
The Dave Clark Five,
Derrick May,
Bush Tetras,
Lungfish,
Stockholm Monsters,
Faust,
Lucky Dragons,
James White and The Blacks,
Saccharine Trust,
The Real Kids,
Maurizio,
Thompson Twins,
Jeru the Damaja,
Jacob Miller,
The Electric Prunes,
Sixth Finger,
Bronski Beat,
The Dead C,
Barclay James Harvest,
the Soft Cell,
Roy Ayers,
Nick Fraelich,
B.T. Express,
Soulsonic Force,
The Velvet Underground,
Pylon,
Country Teasers,
Archie Shepp,
The Knickerbockers,
Janne Schatter,
Pole,
Kevin Saunderson,
F. McDonald,
Television Personalities,
Chrome,
Traffic Nightmare,
Eric Copeland,
Bobby Byrd,
Jesper Dahlbäck,
Thee Headcoats,
UT,
Quadrant,
Delon & Dalcan,
Sight & Sound,
Lafayette Afro Rock Band,
Cluster,
Ituana,
the Human League,
Sex Pistols,
Main Source,
Liaisons Dangereuses,
Outsiders,
Mad Mike,
Faraquet,
Skaos,
Juan Atkins,
ABC,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.