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 Tuvalu and from Shanghai.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Tehran.
I'm losing my edge to the art-school Seoul 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Barrington Levy to the punk 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 Slave. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Althea and Donna,
Procol Harum,
Sonny Sharrock,
Gian Franco Pienzio,
Heavy D & The Boyz,
Tomorrow,
Robert Hood,
Babytalk,
Sam Rivers,
Public Enemy,
Reagan Youth,
Richard Hell and the Voidoids,
Kings Of Tomorrow,
Susan Cadogan,
The Real Kids,
The Shadows of Knight,
Reuben Wilson,
Letta Mbulu,
Cabaret Voltaire,
The Zeros,
Aswad,
Y Pants,
Lebanon Hanover,
Sonic Youth,
Sun Ra,
The Men They Couldn't Hang,
Rekid,
Pylon,
Skarface,
The Skatalites,
Piero Umiliani,
Pulsallama,
Stereo Dub,
Fatback Band,
Sight & Sound,
Don Cherry,
L. Decosne,
Dead Boys,
The Vogues,
B.T. Express,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eurythmics,
The United States of America,
Pere Ubu,
Lafayette Afro Rock Band,
Flamin' Groovies,
Angels of Light & Akron/Family,
John Coltrane,
The Residents,
Franke,
David Bowie,
Arcadia,
the Association,
Cluster,
Royal Trux,
Scratch Acid,
Brick,
The Evens,
Donny Hathaway,
Eve St. Jones,
World's Most,
Bill Near, Bill Near, Bill Near, Bill Near.
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.