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 Tonga and from Bologna.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Columbus 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 güiro 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 The Standells to the grunge kids.
I played it at the Hacienda.
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 Tom Boy. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every 48th St. Collective 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 '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Marmalade,
Oneida,
Brothers Johnson,
Laurel Aitken,
David Bowie,
Pharoah Sanders,
The Litter,
Nils Olav,
the Soft Cell,
Thompson Twins,
Slick Rick,
Technova,
Kenny Larkin,
The Beau Brummels,
Gastr Del Sol,
The Knickerbockers,
The Residents,
Warren Ellis,
Joey Negro,
Siglo XX,
Angels of Light & Akron/Family,
Bootsy's Rubber Band,
Fifty Foot Hose,
Jerry Gold Smith,
Fort Wilson Riot,
Bizarre Inc.,
DJ Style,
Althea and Donna,
Gil Scott Heron,
Suburban Knight,
The Seeds,
The Gun Club,
Tears for Fears,
The Dead C,
Man Parrish,
The Selecter,
Electric Light Orchestra,
Erasure,
Alison Limerick,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lizzy Mercier Descloux,
The Blackbyrds,
Grey Daturas,
Zero Boys,
Quadrant,
Alphaville,
Make Up,
Shoche,
Skarface,
Kerri Chandler,
The Human League,
Echo & the Bunnymen,
Spandau Ballet,
Ossler,
Radio Birdman,
Arthur Verocai,
Aloha Tigers,
Intrusion,
Rufus Thomas,
Massinfluence,
K-Klass,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.