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 Iraq and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Skriet to the jazz kids.
I played it at the Roxy.
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 The Fire Engines. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal disco 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Barrington Levy,
Howard Jones,
The Cowsills,
Wire,
Cameo,
The United States of America,
Jesper Dahlbäck,
Camron Feat. Memphis Bleek And Beenie Seigel,
Siouxsie and the Banshees,
Gary Puckett & The Union Gap,
the Normal,
Altered Images,
The Shadows of Knight,
Deadbeat,
Monks,
Art Ensemble Of Chicago,
Little Man,
Hot Snakes,
Gong,
Quantec,
Ludus,
Second Layer,
James White and The Blacks,
Grauzone,
Oblivians,
Minnie Riperton,
the Fania All-Stars,
Sandy B,
The Invisible,
La Düsseldorf,
John Lydon,
Unrelated Segments,
Au Pairs,
Cybotron,
The Neon Judgement,
E-Dancer,
The Dave Clark Five,
LL Cool J,
Peter Gordon & Love of Life Orchestra,
Scion,
The Red Krayola,
Quando Quango,
The Men They Couldn't Hang,
Electric Light Orchestra,
Dark Day,
Supertramp,
The Standells,
Todd Terry,
Kayak,
ABBA,
Soul II Soul,
The Monks,
Liaisons Dangereuses,
Patti Smith,
Teenage Jesus and the Jerks,
DNA,
The Cure,
Marcia Griffiths,
Kurtis Blow,
Harmonia, Harmonia, Harmonia, Harmonia.
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.