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 Mauritania and from Mexico City.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 Fort Wilson Riot to the techno kids.
I played it at CBGB's.
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 Bad Manners. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Thompson Twins,
The Fuzztones,
Radiohead,
Circle Jerks,
The Offenders,
Johnny Clarke,
Shoche,
Simply Red,
Judy Mowatt,
Deutsch Amerikanische Freundschaft,
Joey Negro,
Sun Ra,
London Community Gospel Choir,
T.S.O.L.,
The Fortunes,
John Holt,
Mark Hollis,
Warsaw,
The New Christs,
Alphaville,
the Bar-Kays,
Das Ding,
Traffic Nightmare,
Urselle,
Max Romeo,
Rufus Thomas,
Vainqueur,
Major Organ And The Adding Machine,
Crime,
Grauzone,
FM Einheit,
The Shadows of Knight,
Hasil Adkins,
Lightning Bolt,
David Axelrod,
Robert Hood,
The Stooges,
Echospace,
Derrick May,
The Skatalites,
The Mighty Diamonds,
Erasure,
Sticky Fingaz feat. Raekwon,
Theoretical Girls,
Unrelated Segments,
One Last Wish,
Freddie Wadling,
Mandrill,
Maurizio,
Janne Schatter,
Beasts of Bourbon,
Ajijia Myrayebe,
Pet Shop Boys,
Toni Rubio,
Isaac Hayes,
Los Fastidios,
Harmonia,
The Cowsills,
The Chocolate Watch Band,
Ash Ra Tempel,
Thinking Fellers Union Local 282,
Massinfluence,
Grandmaster Flash and the Furious Five,
The Fall, The Fall, The Fall, The Fall.
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.