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 Mauritania and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1978.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Lyon 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Visage to the crunk kids.
I played it at the 40 Watt.
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 Ohio Players. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Basic Channel 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Soulsonic Force,
Joe Finger,
Sister Nancy,
Oblivians,
Y Pants,
The Blackbyrds,
Procol Harum,
Technova,
June Days,
Nas,
Blossom Toes,
Tomorrow,
Leonard Cohen,
The Beau Brummels,
the Association,
Major Organ And The Adding Machine,
Strawberry Alarm Clock,
Scientists,
Qualms,
John Lydon,
Bobbi Humphrey,
Arab on Radar,
Brick,
Rhythm & Sound,
The American Breed,
The Neon Judgement,
Max Romeo,
Crooked Eye,
Tres Demented,
Teenage Jesus and the Jerks,
Buzzcocks,
Supertramp,
Donald Byrd,
Grandmaster Flash and the Furious Five,
The Human League,
John Coltrane,
Gil Scott Heron,
Royal Trux,
Skarface,
The Gladiators,
Brand Nubian,
Fugazi,
Faust,
Tropical Tobacco,
Visionaries,LMNO, T- Love & Iriscience,
Lalann,
Audionom,
Kool G Rap & DJ Polo,
Dawn Penn,
It's A Beautiful Day,
Ultra Naté,
Yellowson,
The Evens,
Fort Wilson Riot,
Second Layer,
Howard Jones,
Pole,
Quando Quango,
Richard Hell and the Voidoids,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.