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 Maldives and from Lagos.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Lyon.
I'm losing my edge to the art-school Milan 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar 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 Popol Vuh to the dance kids.
I played it at CBGB's.
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 Marc Almond. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Symarip,
Pantaleimon,
ABC,
Massinfluence,
Sunsets and Hearts,
AZ,
Al Stewart,
Pagans,
Aaron Thompson,
the Bar-Kays,
Rites of Spring,
Harpers Bizarre,
Skriet,
Nirvana,
Marc Almond,
Faust,
Delta 5,
Quadrant,
Tommy Roe,
Lucky Dragons,
Notorious Big And Bone Thugs,
Sparks,
T.S.O.L.,
Maurizio,
E-Dancer,
Kool G Rap & DJ Polo,
Sonny Sharrock,
Bill Wells,
Arab on Radar,
Spoonie Gee,
Rekid,
Tom Boy,
Siouxsie and the Banshees,
Bobby Byrd,
The Electric Prunes,
The Smiths,
Adolescents,
Rhythm & Sound,
The Offenders,
Janne Schatter,
Siglo XX,
Pharoah Sanders,
Los Fastidios,
Lyres,
The Moleskins,
B.T. Express,
La Düsseldorf,
the Normal,
Vladislav Delay,
Sugar Minott,
Marshall Jefferson,
Bauhaus,
Throbbing Gristle,
Banda Bassotti,
Rosa Yemen,
June Days,
Infiniti,
The Beau Brummels,
Reuben Wilson,
The Dead C,
John Cale,
Alison Limerick,
Das Ding, Das Ding, Das Ding, Das Ding.
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.