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 Estonia and from Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school Accra 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Amazonics to the rap 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 Boogie Down Productions. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Ultimate Spinach,
Siouxsie and the Banshees,
Idris Muhammad,
The Royal Family And The Poor,
Jesper Dahlbäck,
Parry Music,
Delta 5,
X-101,
Mars,
Scrapy,
Heavy D & The Boyz,
Fluxion,
Bootsy's Rubber Band,
Ludus,
Masters at Work,
Ten City,
Pharaoh Sanders and the Fire Engines,
Sparks,
Hot Snakes,
Brick,
Interpol,
Sly & The Family Stone,
Technova,
Echo & the Bunnymen,
The Searchers,
Sister Nancy,
the Bar-Kays,
Boogie Down Productions,
The Red Krayola,
Monolake,
Jeff Mills,
Richard Hell and the Voidoids,
Donny Hathaway,
The Peanut Butter Conspiracy,
The Cure,
Throbbing Gristle,
Junior Murvin,
Radio Birdman,
Colin Newman,
the Swans,
Piero Umiliani,
Dead Boys,
Michelle Simonal,
Von Mondo,
Basic Channel,
Peter Gordon & Love of Life Orchestra,
Aural Exciters,
Buzzcocks,
Minny Pops,
Kauko Röyhkä ja Narttu,
Maleditus Sound,
Kings Of Tomorrow,
The Motions,
Matthew Bourne,
Davy DMX,
James Chance & The Contortions,
The Golliwogs,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.