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 Colombia and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Beijing and Tehran.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Moss Icon to the grunge kids.
I played it at the Troubador.
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 Sexual Harrassment. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
the Germs,
Q65,
Wighnomy Brothers & Robag Wruhme,
Heaven 17,
The Peanut Butter Conspiracy,
Depeche Mode,
Franke,
The Men They Couldn't Hang,
Metal Thangz,
Black Bananas,
Don Cherry,
The Associates,
Moebius,
Maleditus Sound,
The Monochrome Set,
Cybotron,
Skaos,
Siouxsie and the Banshees,
Jerry's Kids,
Sight & Sound,
Terry Callier,
Soft Cell,
The Angels of Light,
Eurythmics,
R.M.O.,
Eric B and Rakim,
Howard Jones,
Stetsasonic,
The Sonics,
Japan,
Loose Ends,
Ultra Naté,
Boz Scaggs,
Quando Quango,
Rowland S Howard / Lydia Lunch,
Jeff Mills,
Mary Jane Girls,
Negative Approach,
Tres Demented,
Louis and Bebe Barron,
Magazine,
The Pop Group,
Kings Of Tomorrow,
Lalann,
Ronnie Foster,
The Busters,
Darondo,
10cc,
Liliput,
T.S.O.L.,
Malaria!,
Talk Talk,
Popol Vuh,
Spandau Ballet,
Interpol,
Minor Threat,
Glambeats Corp.,
Mad Mike,
The Shadows of Knight,
Ken Boothe,
Oblivians,
The Fire Engines,
China Crisis, China Crisis, China Crisis, China Crisis.
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.