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 Czech Republic and from Shanghai.
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 1978.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Lille 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Ultravox to the grime 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 Althea and Donna. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Grey Daturas 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Bluetip,
Slick Rick,
Brothers Johnson,
H. Thieme,
Darondo,
The Slackers,
Public Image Ltd.,
Terrestrial Tones,
The Evens,
Parry Music,
Liliput,
June of 44,
Joensuu 1685,
Connie Case,
Camberwell Now,
Pylon,
In Retrospect,
Amon Düül,
The Shadows of Knight,
Robert Görl,
The Tremeloes,
Hashim,
Eden Ahbez,
Joy Division,
Guru Guru,
Brass Construction,
Oppenheimer Analysis,
Mary Jane Girls,
Basic Channel,
MC5,
Hoover,
The Detroit Cobras,
Black Pus,
10cc,
Inner City,
Chrome,
Outsiders,
Archie Shepp,
Rosa Yemen,
New York Dolls,
Siglo XX,
Patti Smith,
Dark Day,
Cybotron,
The Dave Clark Five,
Vaughan Mason & Crew,
Donny Hathaway,
Roy Ayers,
The Durutti Column,
Half Japanese,
Soft Machine,
Second Layer,
Echospace,
Curtis Mayfield,
The Motions,
ABC,
Drive Like Jehu,
Yellowson,
Boredoms,
Delta 5,
X-Ray Spex,
Alice Coltrane,
the Human League, the Human League, the Human League, the Human League.
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.