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 Bulgaria and from Bremen.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lille and Halifax.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Dead Boys to the grime kids.
I played it at Trash.
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 New York Dolls. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every The Knickerbockers 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 '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
The Moody Blues,
The Monochrome Set,
The Fuzztones,
Model 500,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bobby Womack,
Dave Gahan,
Negative Approach,
Nik Kershaw,
Minnie Riperton,
It's A Beautiful Day,
Index,
Goldenarms,
Max Romeo,
Tears for Fears,
Japan,
Black Pus,
Fugazi,
Von Mondo,
Delta 5,
Black Moon,
Art Ensemble Of Chicago,
Urselle,
Rakim,
The Zeros,
Scratch Acid,
Joy Division,
Yaz,
Alice Coltrane,
Lindisfarne,
Rotary Connection,
Alton Ellis,
The Cowsills,
Surgeon,
Todd Terry,
Eden Ahbez,
Blancmange,
The Peanut Butter Conspiracy,
ABC,
the Swans,
Electric Light Orchestra,
Al Stewart,
Quantec,
Gastr Del Sol,
The Men They Couldn't Hang,
Whodini,
The Grass Roots,
June of 44,
Warren Ellis,
Hasil Adkins,
Mars,
Larry & the Blue Notes,
Zapp,
Theoretical Girls,
Newcleus,
Johnny Osbourne,
Erasure,
Chrome,
One Last Wish,
Donald Byrd,
Stiv Bators,
Grandmaster Flash,
Vladislav Delay,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.