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 Israel and from Tehran.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Bologna 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Duran Duran to the grunge kids.
I played it at Trash.
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 Residents. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Harmonia,
Camberwell Now,
Minny Pops,
Moby Grape,
Blancmange,
Lou Reed & John Cale,
Duran Duran,
Erasure,
Judy Mowatt,
Television Personalities,
Liaisons Dangereuses,
Robert Görl,
The Gun Club,
The Golliwogs,
Spoonie Gee,
Soft Cell,
The Zeros,
Babytalk,
The Cowsills,
Radiopuhelimet,
Mars,
Janne Schatter,
Lakeside,
Accadde A,
Depeche Mode,
Young Marble Giants,
James Chance & The Contortions,
Gary Puckett & The Union Gap,
Bob Dylan,
Jesper Dahlbäck,
The Moody Blues,
The Fall,
Aural Exciters,
Cluster,
Theoretical Girls,
Jeru the Damaja,
X-Ray Spex,
the Association,
Sound Behaviour,
Johnny Clarke,
Camouflage,
T. Rex,
Ultra Naté,
Kenny Larkin,
Icehouse,
Brass Construction,
Rakim,
Graham Central Station,
Richard Hell and the Voidoids,
Marc Romboy vs. Booka Shade,
The Moleskins,
Rufus Thomas,
Masters at Work,
Aaron Thompson,
Flamin' Groovies,
Siglo XX,
The Young Rascals,
Eve St. Jones,
Symarip,
Infiniti,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.