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 Malaysia 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 1965 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Faraquet to the grime 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 Big Daddy Kane. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
The Slackers,
The Real Kids,
Deutsch Amerikanische Freundschaft,
Au Pairs,
June Days,
Larry & the Blue Notes,
Blake Baxter,
London Community Gospel Choir,
Lucky Dragons,
Pet Shop Boys,
Davy DMX,
Drive Like Jehu,
Kaleidoscope,
The Smoke,
Yazoo,
Supertramp,
The Martian,
Warsaw,
June of 44,
The Cowsills,
Cabaret Voltaire,
Marc Almond,
Roger Hodgson,
The Cramps,
Jacques Brel,
Lakeside,
Justin Hinds & The Dominoes,
Eden Ahbez,
Scion,
Avey Tare & Kría Brekkan,
Deadbeat,
the Bar-Kays,
Franke,
Excepter,
X-101,
Magma,
Harry Pussy,
Peter & Gordon,
The Slits,
Quadrant,
Colin Newman,
The Victims,
Lightning Bolt,
Mr. Review,
Strawberry Alarm Clock,
The Fuzztones,
Easy Going,
Sunsets and Hearts,
Model 500,
Cameo,
Vladislav Delay,
The Mighty Diamonds,
Rod Modell,
the Sonics,
Niagra,
Visage,
Rosa Yemen,
The Fortunes,
the Germs,
James White and The Blacks,
Average White Band, Average White Band, Average White Band, Average White Band.
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.