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 Turkey and from Madrid.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Halifax 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 Rufus Thomas to the electroclash 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 Laurel Aitken. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Marvin Gaye 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 '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
David McCallum,
Deakin,
The Seeds,
Main Source,
Sandy B,
Goldenarms,
Agent Orange,
Boz Scaggs,
Nas,
Audionom,
Ralphi Rosario,
Kerrie Biddell,
Bad Manners,
James White and The Blacks,
Animal Collective,
Harry Pussy,
R.M.O.,
Avey Tare,
Rhythim Is Rhythim,
Jeru the Damaja,
Eric Copeland,
Boogie Down Productions,
Cameo,
Quando Quango,
Neil Young,
The Angels of Light,
Interpol,
Jacques Brel,
Sexual Harrassment,
Tomorrow,
Mission of Burma,
The Blues Magoos,
This Heat,
Organ,
Absolute Body Control,
Suburban Knight,
The Dead C,
Swans,
The Men They Couldn't Hang,
the Slits,
The Gap Band,
Jacob Miller,
Royal Trux,
Rekid,
Kerri Chandler,
Sugar Minott,
Jeff Lynne,
MDC,
Faust,
Qualms,
The Smoke,
Arcadia,
Circle Jerks,
Lou Christie,
Camron Feat. Memphis Bleek And Beenie Seigel,
Spandau Ballet,
Porter Ricks,
Ronnie Foster,
Cabaret Voltaire,
Yaz, Yaz, Yaz, Yaz.
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.