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 Monaco and from Sao Paulo.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Salvador and Cairo.
I'm losing my edge to the art-school Cairo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Lou Reed to the electroclash kids.
I played it at Trash.
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 Dark Day. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every The Beau Brummels 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
David Axelrod,
Deepchord,
Supertramp,
Wally Richardson,
Icehouse,
Agent Orange,
Fort Wilson Riot,
Echo & the Bunnymen,
Urselle,
Soft Machine,
The Human League,
Archie Shepp,
Public Enemy,
Black Moon,
Goldenarms,
Cabaret Voltaire,
H. Thieme,
Scan 7,
Con Funk Shun,
Can,
Peter and Kerry,
La Düsseldorf,
The Happenings,
Television Personalities,
Brass Construction,
Eddi Front,
Minor Threat,
Oppenheimer Analysis,
Monolake,
Pylon,
Sister Nancy,
Moss Icon,
Gerry Rafferty,
Terry Callier,
Q65,
Ash Ra Tempel,
The Remains,
Bob Dylan,
Gil Scott-Heron & Brian Jackson,
Grandmaster Flash,
Eve St. Jones,
Fugazi,
Ajijia Myrayebe,
Blancmange,
Black Sheep,
Circle Jerks,
Byron Stingily,
Surgeon,
The Durutti Column,
Marmalade,
Lightning Bolt,
Fluxion,
Newcleus,
Country Teasers,
Donny Hathaway,
Joey Negro,
The Slits,
Leonard Cohen,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.