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 Manila.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when Lou Reed 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 The Fortunes to the rock kids.
I played it at the 40 Watt.
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 Brothers Johnson. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Kurtis Blow 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Count Five,
Bobby Womack,
Blancmange,
Slick Rick,
Gerry Rafferty,
Bootsy Collins,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scan 7,
Alison Limerick,
Main Source,
K-Klass,
Arcadia,
Drexciya,
Goldenarms,
The J.B.'s,
Royal Trux,
the Swans,
Heavy D & The Boyz,
The Real Kids,
Subhumans,
DeepChord presents Echospace,
Sarah Menescal,
Ultimate Spinach,
Eden Ahbez,
Bill Near,
Adolescents,
Monks,
Talk Talk,
David Axelrod,
Barrington Levy,
Morten Harket,
Organ,
Steve Hackett,
Deadbeat,
Lou Reed & John Cale,
Traffic Nightmare,
Buzzcocks,
Lower 48,
Sunsets and Hearts,
Larry & the Blue Notes,
The Doobie Brothers,
Spoonie Gee,
Glambeats Corp.,
Aaron Thompson,
Brick,
The Index,
10cc,
Electric Light Orchestra,
Technova,
A Certain Ratio,
the Human League,
cv313,
The Offenders,
Nirvana,
The Motions,
Matthew Halsall,
Delon & Dalcan,
Bush Tetras,
Cal Tjader,
Tom Boy,
Clear Light, Clear Light, Clear Light, Clear Light.
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.