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 Slovenia and from Shanghai.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Paris 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 harpsichord 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 The Knickerbockers to the punk 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 It's A Beautiful Day. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every The Fuzztones 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Vaughan Mason & Crew,
Magazine,
The Pop Group,
Little Man,
Bobby Womack,
Ronan,
Lee Hazlewood,
Selector Dub Narcotic,
The Dave Clark Five,
Sly & The Family Stone,
Colin Newman,
Circle Jerks,
Eric B and Rakim,
Quantec,
Carl Craig,
Wighnomy Brothers & Robag Wruhme,
Bobby Byrd,
Black Sheep,
F. McDonald,
Pantytec,
Kauko Röyhkä ja Narttu,
Gang Green,
Ornette Coleman,
John Cale,
Ohio Players,
Michelle Simonal,
Banda Bassotti,
Supertramp,
The Selecter,
A Certain Ratio,
Yazoo,
Johnny Clarke,
Pharoah Sanders,
Quando Quango,
Dorothy Ashby,
Jandek,
The Misunderstood,
Mo-Dettes,
Kas Product,
the Swans,
Faust,
Al Stewart,
Buzzcocks,
Soft Machine,
Radiohead,
Pagans,
Kerrie Biddell,
Donald Byrd,
DNA,
Radio Birdman,
Be Bop Deluxe,
Barrington Levy,
The American Breed,
Funky Four + One,
Dennis Brown,
Sandy B,
Pharaoh Sanders and the Fire Engines,
Model 500,
Maurizio,
Pet Shop Boys,
The Young Rascals,
Shoche,
The Gap Band,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.