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 Kyrgyzstan and from Sao Paulo.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Philadelphia 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Altered Images to the rock 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 Public Image Ltd.. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Cymande,
The Seeds,
Man Eating Sloth,
Nas,
Soft Machine,
Thinking Fellers Union Local 282,
Jacques Brel,
Curtis Mayfield,
Terrestrial Tones,
Gil Scott-Heron & Brian Jackson,
Liaisons Dangereuses,
Big Daddy Kane,
Teenage Jesus and the Jerks,
Tomorrow,
Swell Maps,
Qualms,
Clear Light,
Aswad,
Scion,
The Dave Clark Five,
The Fire Engines,
Minor Threat,
Jeru the Damaja,
Simply Red,
Eyeless In Gaza,
Ornette Coleman,
Toni Rubio,
The Vogues,
Kool Moe Dee,
Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alison Limerick,
Andrew Ashong & Theo Parrish,
Camberwell Now,
Ten City,
Roy Ayers Ubiquity,
The Fall,
Model 500,
Fear,
the Human League,
Joe Finger,
The Doobie Brothers,
The Saints,
Cheater Slicks,
Terror Squad Feat. Camron,
The Electric Prunes,
The Offenders,
This Heat,
The New Christs,
Japan,
Gang of Four,
Panda Bear,
The Index,
Rapeman,
The Selecter,
AZ,
Lizzy Mercier Descloux,
Sister Nancy,
Kool G Rap & DJ Polo,
Rod Modell,
Radio Birdman,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.