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 Nigeria and from Seoul.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Bremen 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 Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Avey Tare & Kría Brekkan to the disco 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 Hot Snakes. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Al Stewart,
Joy Division,
Donald Byrd,
Soul Sonic Force,
Bizarre Inc.,
Soulsonic Force,
X-102,
Can,
Kango’s Stein Massive,
Radio Birdman,
The Royal Family And The Poor,
Heavy D & The Boyz,
Thompson Twins,
The Move,
8 Eyed Spy,
Amon Düül,
Camberwell Now,
The Mighty Diamonds,
Cymande,
The Angels of Light,
Gerry Rafferty,
Susan Cadogan,
Freddie Wadling,
Ralphi Rosario,
Big Daddy Kane,
Sly & The Family Stone,
Icehouse,
Parry Music,
The Men They Couldn't Hang,
The Monochrome Set,
Orchestral Manoeuvres in the Dark,
Piero Umiliani,
Amon Düül II,
The Mojo Men,
The Evens,
Dr. Dre and Snoop Doggy Dog,
China Crisis,
Rhythm & Sound,
The Remains,
Josef K,
Althea and Donna,
The Monks,
Infiniti,
Eurythmics,
Ultimate Spinach,
Thinking Fellers Union Local 282,
Marshall Jefferson,
Interpol,
Michelle Simonal,
Fad Gadget,
The Fire Engines,
Bronski Beat,
Wally Richardson,
Das Ding,
Moss Icon,
Eric Copeland,
Art Ensemble Of Chicago,
Rod Modell,
Scrapy,
Nik Kershaw,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.