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 Sri Lanka and from Columbus.
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 1978.
I'm losing my edge.
To all the kids in Spokane and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 Marc Almond to the crunk kids.
I played it at the Spitz.
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 Connie Case. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Blancmange 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
The Pop Group,
Lightning Bolt,
Arab on Radar,
Anakelly,
Crime,
Pantytec,
Spandau Ballet,
Piero Umiliani,
The Motions,
Buzzcocks,
KRS-One,
Duran Duran,
Glambeats Corp.,
Adolescents,
Matthew Bourne,
Kayak,
Selector Dub Narcotic,
Ice-T,
Cymande,
Beasts of Bourbon,
Jacques Brel,
Man Parrish,
Pulsallama,
Silicon Teens,
Mad Mike,
Bootsy Collins,
Rod Modell,
Newcleus,
The Real Kids,
Jandek,
Agitation Free,
The Victims,
Sexual Harrassment,
Echospace,
CMW,
Popol Vuh,
The Fall,
Notorious Big And Bone Thugs,
Roy Ayers Ubiquity,
Funky Four + One,
Terry Callier,
Stiv Bators,
World's Most,
Public Enemy,
Bootsy's Rubber Band,
Pete Rock & C.L. Smooth,
Fear,
The Searchers,
Sonic Youth,
Wally Richardson,
Unrelated Segments,
Sad Lovers and Giants,
The Smoke,
Young Marble Giants,
Scientists,
Soul Sonic Force,
Zero Boys,
Camberwell Now,
Erasure,
Ralphi Rosario,
Agent Orange,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.