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 Swaziland and from Tehran.
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 1971.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Glasgow 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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ 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 Agitation Free to the disco 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 The Sound. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Delon & Dalcan,
The Associates,
The West Coast Pop Art Experimental Band,
Pulsallama,
The Searchers,
The Vogues,
Television Personalities,
Rod Modell,
The Move,
Marc Almond,
The Cosmic Jokers,
Soul II Soul,
The Chocolate Watch Band,
Thompson Twins,
Cluster,
Todd Rundgren,
The Red Krayola,
The Index,
June Days,
Rhythm & Sound,
Yusef Lateef,
Symarip,
Von Mondo,
Sad Lovers and Giants,
The Human League,
The Divine Comedy,
Don Cherry,
Heavy D & The Boyz,
The Victims,
The Monochrome Set,
Scrapy,
Funkadelic,
Au Pairs,
Saccharine Trust,
Eli Mardock,
The Busters,
Nick Cave & The Bad Seeds,
Little Man,
The Alarm Clocks,
Bush Tetras,
Wire,
The Doobie Brothers,
The Cramps,
Mission of Burma,
Man Parrish,
Sly & The Family Stone,
Model 500,
The Wake,
Royal Trux,
Hoover,
Trumans Water,
Magazine,
The Pop Group,
A Certain Ratio,
Spandau Ballet,
Jimmy McGriff,
Scott Walker,
John Holt,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.