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 Botswana and from Beijing.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Lyon 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 Bronski Beat practice in a loft in Brixton.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Carl Craig to the disco kids.
I played it at the Astoria.
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 Gories. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Rhythm & Sound 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Delta 5,
Sparks,
Selector Dub Narcotic,
Vaughan Mason & Crew,
Curtis Mayfield,
Be Bop Deluxe,
Motorama,
Clear Light,
Judy Mowatt,
The Blackbyrds,
Dead Boys,
The Smiths,
Scratch Acid,
Siouxsie and the Banshees,
Lou Reed & Metallica,
The Saints,
Lonnie Liston Smith,
Radio Birdman,
Soft Cell,
Deutsch Amerikanische Freundschaft,
Procol Harum,
U.S. Maple,
Avey Tare's Slasher Flicks,
Notorious Big And Bone Thugs,
X-102,
Jacques Brel,
Fela Kuti,
A Certain Ratio,
Todd Rundgren,
The Litter,
Stiv Bators,
Hasil Adkins,
Ultramagnetic MC's,
Qualms,
Mo-Dettes,
FM Einheit,
Matthew Halsall,
Tropical Tobacco,
Spandau Ballet,
Pere Ubu,
Arab on Radar,
Von Mondo,
Major Organ And The Adding Machine,
Derrick May,
Jacob Miller,
Depeche Mode,
Lalann,
Sam Rivers,
Kauko Röyhkä ja Narttu,
the Association,
The Mojo Men,
Graham Central Station,
The Gap Band,
Donald Byrd,
Prince Buster,
Skriet,
Marmalade,
Ultimate Spinach,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.