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 Dominica and from Mexico City.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Toronto 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 DNA to the rap 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 Walker Brothers. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
The J.B.'s,
Patti Smith,
Joe Smooth,
Absolute Body Control,
Malaria!,
Be Bop Deluxe,
Essential Logic,
Massinfluence,
Isaac Hayes,
Vladislav Delay,
Captain Beefheart & His Magic Band,
Pet Shop Boys,
Carl Craig,
Dr. Dre and Snoop Doggy Dog,
The Gories,
Depeche Mode,
Major Organ And The Adding Machine,
Sly & The Family Stone,
Bob Dylan,
AZ,
Jandek,
Arcadia,
The Doobie Brothers,
Bobby Sherman,
Nas,
Susan Cadogan,
Cabaret Voltaire,
X-101,
The Music Machine,
Yellowson,
Symarip,
Nils Olav,
Skarface,
Grandmaster Flash,
Royal Trux,
The Detroit Cobras,
F. McDonald,
Derrick May,
The Martian,
Terrestrial Tones,
D'Angelo,
Ronnie Foster,
Angels of Light & Akron/Family,
The Chocolate Watch Band,
Graham Central Station,
The Wake,
Louis and Bebe Barron,
Eurythmics,
Model 500,
Kas Product,
Severed Heads,
Lizzy Mercier Descloux,
Newcleus,
Pole,
Radio Birdman,
The Buckinghams,
The Birthday Party,
The Invisible,
Scan 7,
Interpol,
the Swans, the Swans, the Swans, the Swans.
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.