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 Canada and from Johannesburg.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Manchester 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 clarinet 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 Gladiators to the funk kids.
I played it at the Troubador.
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 Porter Ricks. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every The Martian 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar 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 Birthday Party,
The Real Kids,
Beasts of Bourbon,
Sly & The Family Stone,
Sound Behaviour,
Bob Dylan,
The Happenings,
UT,
Royal Trux,
Jeff Mills,
De La Soul & Jungle Brothers,
Aloha Tigers,
Organ,
Terrestrial Tones,
Selector Dub Narcotic,
Deadbeat,
Whodini,
The Knickerbockers,
Johnny Clarke,
Depeche Mode,
The Names,
Janne Schatter,
Bobby Byrd,
Make Up,
Maleditus Sound,
Basic Channel,
Man Parrish,
Adolescents,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Goldenarms,
Suburban Knight,
Skaos,
Ultramagnetic MC's,
Arthur Verocai,
the Association,
In Retrospect,
Jerry Gold Smith,
New Age Steppers,
The Busters,
The Moleskins,
Loose Ends,
Wally Richardson,
Aswad,
Juan Atkins,
Lower 48,
Moss Icon,
Harmonia,
Duran Duran,
Joe Smooth,
Gil Scott-Heron and Jamie xx,
Godley & Creme,
Wighnomy Brothers & Robag Wruhme,
Minutemen,
The Fall,
The Men They Couldn't Hang,
Mars,
Subhumans,
Super Lover Cee & Casanova Rud,
ABBA,
Alice Coltrane,
Orchestral Manoeuvres in the Dark,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.