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 Taiwan and from Bologna.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Spokane and Salvador.
I'm losing my edge to the art-school Cairo 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Blancmange to the funk 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 Davy DMX. All the underground hits.
All UT tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
A Flock of Seagulls,
Larry & the Blue Notes,
The Black Dice,
Jawbox,
Moby Grape,
Cabaret Voltaire,
Sparks,
A Certain Ratio,
The Doors,
Mark Hollis,
Ken Boothe,
Ituana,
Sister Nancy,
Teenage Jesus and the Jerks,
Jeff Mills,
Ultimate Spinach,
Pole,
Manfred Mann's Earth Band,
Fad Gadget,
Marmalade,
Index,
Swans,
Sarah Menescal,
Sly & The Family Stone,
Jesper Dahlback,
DNA,
The J.B.'s,
Intrusion,
Oneida,
CMW,
Andrew Ashong & Theo Parrish,
The Gladiators,
Isaac Hayes,
Iggy Pop,
The Moody Blues,
Metal Thangz,
K-Klass,
The Barracudas,
Eyeless In Gaza,
The Mighty Diamonds,
Ronnie Foster,
The Doobie Brothers,
Soft Cell,
Loose Ends,
Hasil Adkins,
Nick Cave & The Bad Seeds,
Stiv Bators,
Underground Resistance,
The United States of America,
Charles Mingus,
Dawn Penn,
Dave Gahan,
Urselle,
The West Coast Pop Art Experimental Band,
The Slits,
D'Angelo,
Man Eating Sloth,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.