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 San Marino and from Manchester.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Tehran and Tokyo.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 Groovy Waters to the disco 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 The Index. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Kas Product,
Alice Coltrane,
Delta 5,
Ossler,
Lightning Bolt,
Tropical Tobacco,
UT,
Visage,
Cymande,
Shuggie Otis,
Liliput,
Idris Muhammad,
Soulsonic Force,
The Saints,
Massinfluence,
Smog,
Sexual Harrassment,
Marine Girls,
Oppenheimer Analysis,
Cabaret Voltaire,
Trumans Water,
Avey Tare,
Louis and Bebe Barron,
Lee Hazlewood,
The Star Department,
Hasil Adkins,
It's A Beautiful Day,
Colin Newman,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Tommy Roe,
Supertramp,
Spandau Ballet,
Mantronix,
Joensuu 1685,
Man Eating Sloth,
Liaisons Dangereuses,
New York Dolls,
The Wake,
Loose Ends,
Reagan Youth,
Icehouse,
Arthur Verocai,
Simply Red,
Gil Scott Heron,
Pete Rock & C.L. Smooth,
F. McDonald,
Ituana,
Mission of Burma,
Country Teasers,
Hashim,
Porter Ricks,
Agitation Free,
Dawn Penn,
Oblivians,
Brass Construction,
the Germs,
Juan Atkins,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.