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 Colombia and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Columbus 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 guitar 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 Dorothy Ashby to the dance 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 Leaves. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Stiv Bators 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 '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
Von Mondo,
Terror Squad Feat. Camron,
DeepChord presents Echospace,
Mars,
Chrome,
E-Dancer,
Larry & the Blue Notes,
Monolake,
New Age Steppers,
Moss Icon,
Sandy B,
Buzzcocks,
Quadrant,
Ornette Coleman,
Kerrie Biddell,
Pharaoh Sanders and the Fire Engines,
Magazine,
Art Ensemble Of Chicago,
Television,
Saccharine Trust,
The Motions,
Joyce Sims,
The Slits,
The Five Americans,
The Star Department,
Audionom,
Aloha Tigers,
Icehouse,
DNA,
Average White Band,
Altered Images,
Basic Channel,
The Offenders,
Clear Light,
Das Ding,
The Divine Comedy,
Richard Hell and the Voidoids,
Anthony Braxton,
Johnny Osbourne,
Eyeless In Gaza,
Henry Cow,
Vladislav Delay,
Todd Terry,
Liliput,
Soft Cell,
Groovy Waters,
Mandrill,
Byron Stingily,
Anakelly,
Andrew Ashong & Theo Parrish,
Gang of Four,
Gil Scott-Heron and Jamie xx,
Yazoo,
Todd Rundgren,
Jerry Gold Smith,
T. Rex,
The Gories,
Excepter,
The Sisters of Mercy,
The Invisible,
Faraquet,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.