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 Bosnia Herzegovina 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 1964 to 1971.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Madrid 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 Loose Ends to the disco kids.
I played it at the Hacienda.
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 Jeff Lynne. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
H. Thieme,
The Detroit Cobras,
Kango’s Stein Massive,
The Last Poets,
Black Moon,
Flash Fearless,
Flamin' Groovies,
R.M.O.,
Bobby Hutcherson,
Soft Cell,
cv313,
Jacques Brel,
The Associates,
Nils Olav,
Talk Talk,
Stockholm Monsters,
Excepter,
Bill Wells,
Soft Machine,
Porter Ricks,
F. McDonald,
Teenage Jesus and the Jerks,
JFA,
Soulsonic Force,
Babytalk,
The Searchers,
David Axelrod,
48th St. Collective,
The Martian,
Aloha Tigers,
ABBA,
Andrew Ashong & Theo Parrish,
Barbara Tucker,
Roxy Music,
Peter & Gordon,
K-Klass,
Scientists,
Faust,
Peter and Kerry,
Laurel Aitken,
Janne Schatter,
FM Einheit,
Nico,
Boredoms,
Sonic Youth,
Johnny Osbourne,
World's Most,
Pantytec,
Fat Boys,
The Offenders,
Ohio Players,
New York Dolls,
Visage,
Maurizio,
Youth Brigade,
Big Daddy Kane,
Hardrive,
Ossler,
Public Image Ltd.,
Fifty Foot Hose,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.