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 Armenia and from Paris.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Bologna and Taipei.
I'm losing my edge to the art-school Jakarta 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Altered Images to the disco 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 The Move. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Joe Smooth 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 '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Marc Romboy vs. Booka Shade,
The Human League,
Soft Machine,
Althea and Donna,
Index,
the Human League,
Desert Stars,
Pulsallama,
Thee Headcoats,
Zapp,
Minny Pops,
The Vogues,
Von Mondo,
Dorothy Ashby,
Bizarre Inc.,
OOIOO,
The Dead C,
Monolake,
Echo & the Bunnymen,
Sound Behaviour,
Max Romeo,
Graham Central Station,
Sight & Sound,
The Modern Lovers,
The Evens,
Eden Ahbez,
The Real Kids,
The Move,
Junior Murvin,
Freddie Wadling,
The Star Department,
The Buckinghams,
John Coltrane,
Tim Buckley,
Rhythm & Sound,
The Skatalites,
Urselle,
A Certain Ratio,
Eurythmics,
Angels of Light & Akron/Family,
Quantec,
Audionom,
Bush Tetras,
Ralphi Rosario,
Groovy Waters,
Niagra,
The Victims,
The Red Krayola,
Half Japanese,
Scratch Acid,
Teenage Jesus and the Jerks,
Jesper Dahlbäck,
Severed Heads,
Loose Ends,
Pharoah Sanders,
Roger Hodgson,
The Royal Family And The Poor,
The Young Rascals,
Spandau Ballet,
The Fugs,
The Happenings,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.