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 Bolivia and from Accra.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 Trumans Water to the electroclash 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 James Chance & The Contortions. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Country Teasers,
Minutemen,
the Bar-Kays,
A Flock of Seagulls,
Jacques Brel,
Red Lorry Yellow Lorry,
Soft Cell,
Dorothy Ashby,
Mark Hollis,
Public Enemy,
Joe Finger,
Saccharine Trust,
Pharoah Sanders,
Hardrive,
Minor Threat,
Dave Gahan,
Bauhaus,
Clear Light,
Erasure,
Ten City,
Gregory Isaacs,
Depeche Mode,
D'Angelo,
June of 44,
Panda Bear,
Josef K,
The Fuzztones,
Section 25,
Alton Ellis,
New Age Steppers,
Blancmange,
Moby Grape,
The Raincoats,
Duran Duran,
Kas Product,
The Gun Club,
Super Lover Cee & Casanova Rud,
Piero Umiliani,
Niagra,
Kings Of Tomorrow,
the Soft Cell,
Joey Negro,
Q65,
Adolescents,
Wighnomy Brothers & Robag Wruhme,
the Germs,
Circle Jerks,
The Barracudas,
Ituana,
In Retrospect,
Pagans,
Young Marble Giants,
Nick Cave & The Bad Seeds,
Maurizio,
EPMD,
Masters at Work,
The Leaves,
Joensuu 1685,
Jerry's Kids,
Absolute Body Control,
Susan Cadogan,
The Last Poets,
The Fall, The Fall, The Fall, The Fall.
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.