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 Gambia and from Accra.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Winnipeg.
I'm losing my edge to the art-school Lille 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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin 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 Public Enemy to the funk kids.
I played it at the Troubador.
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 John Foxx. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Wings 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Susan Cadogan,
H. Thieme,
Ornette Coleman,
The Five Americans,
Main Source,
Gang of Four,
Brass Construction,
Bill Wells,
OOIOO,
Wings,
Black Pus,
The Martian,
Kayak,
Tubeway Army,
Warren Ellis,
the Association,
Ultravox,
The Slits,
Procol Harum,
Adolescents,
Eric B and Rakim,
Joe Finger,
Alton Ellis,
Joensuu 1685,
Chris & Cosey,
Nation of Ulysses,
Sunsets and Hearts,
The Red Krayola,
Sun Ra Arkestra,
Mars,
The Cure,
Hot Snakes,
Neil Young & Crazy Horse,
Big Daddy Kane,
Glambeats Corp.,
Cabaret Voltaire,
Deakin,
DeepChord presents Echospace,
The Cowsills,
Silicon Teens,
Soft Machine,
Ultramagnetic MC's,
Swans,
Robert Görl,
Gerry Rafferty,
Major Organ And The Adding Machine,
Röyhkä ja Rättö ja Lehtisalo,
Carl Craig,
The Techniques,
Grandmaster Flash and the Furious Five,
Camberwell Now,
The Moleskins,
The Kinks,
Wasted Youth,
Andrew Hill,
Gian Franco Pienzio,
The Moody Blues,
10cc,
Alice Coltrane,
Roy Ayers,
Dennis Brown,
Nas, Nas, Nas, Nas.
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.