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 Vietnam and from Shanghai.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Pierre Henry to the disco kids.
I played it at the Hacienda.
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 Cymande. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
James Chance & The Contortions,
Ohio Players,
the Bar-Kays,
The Real Kids,
Index,
Todd Rundgren,
Camron Feat. Memphis Bleek And Beenie Seigel,
Youth Brigade,
Lebanon Hanover,
Brick,
AZ,
It's A Beautiful Day,
Das Ding,
DeepChord presents Echospace,
Liaisons Dangereuses,
Oppenheimer Analysis,
Surgeon,
Aural Exciters,
Jerry's Kids,
Judy Mowatt,
Kerrie Biddell,
Q65,
The Smoke,
Wings,
Justin Hinds & The Dominoes,
Amon Düül II,
ABC,
Teenage Jesus and the Jerks,
Tomorrow,
Kenny Larkin,
Sad Lovers and Giants,
MC5,
Be Bop Deluxe,
Interpol,
Lafayette Afro Rock Band,
Skriet,
The Tremeloes,
Donny Hathaway,
Sexual Harrassment,
Minutemen,
Graham Central Station,
Fluxion,
Barclay James Harvest,
Marc Romboy vs. Booka Shade,
Gil Scott Heron,
Trumans Water,
The Slackers,
Gil Scott-Heron & Brian Jackson,
Grandmaster Flash,
CMW,
DJ Sneak,
Josef K,
Bauhaus,
Moss Icon,
F. McDonald,
The Selecter,
X-Ray Spex,
Kaleidoscope,
Bill Wells,
Man Parrish,
The Walker Brothers,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.