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 Chad and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Shanghai 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 güiro 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 Mary Jane Girls to the rock kids.
I played it at the Crocodile.
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 New Christs. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every The Monks 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound 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?
The Birthday Party,
Kerrie Biddell,
Terrestrial Tones,
Richard Hell and the Voidoids,
Adolescents,
Visage,
Delon & Dalcan,
Grandmaster Flash and the Furious Five,
John Holt,
The Busters,
Lou Reed & Metallica,
Lungfish,
Visionaries,LMNO, T- Love & Iriscience,
Model 500,
Eddi Front,
Lizzy Mercier Descloux,
This Heat,
Pagans,
Kas Product,
Archie Shepp,
Altered Images,
Marshall Jefferson,
Aaron Thompson,
D'Angelo,
Spandau Ballet,
Steve Hackett,
Fugazi,
The Victims,
Dawn Penn,
Sparks,
Echospace,
Gil Scott-Heron & Brian Jackson,
Fort Wilson Riot,
Marc Almond,
Fear,
Dr. Dre and Snoop Doggy Dog,
Donny Hathaway,
The Searchers,
Bobby Hutcherson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Basic Channel,
Easy Going,
Alphaville,
Ultramagnetic MC's,
Mark Hollis,
Eden Ahbez,
The Invisible,
Tubeway Army,
Avey Tare & Kría Brekkan,
Dave Gahan,
Harry Pussy,
Bootsy's Rubber Band,
Matthew Bourne,
L. Decosne,
Robert Wyatt,
John Coltrane,
The Doobie Brothers,
Peter and Kerry,
Lakeside,
Quantec,
The Neon Judgement,
T. Rex,
Kool Moe Dee,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.