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 Suriname and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Paris.
I'm losing my edge to the art-school Bologna 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 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 The Leaves to the dance kids.
I played it at the Troubador.
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 Velvet Underground. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every EPMD 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Whodini,
Pere Ubu,
The Mojo Men,
Simply Red,
The Jesus and Mary Chain,
Blake Baxter,
Pole,
Blancmange,
The Index,
Scott Walker,
The Standells,
Sad Lovers and Giants,
Intrusion,
James Chance & The Contortions,
Byron Stingily,
Be Bop Deluxe,
Marcia Griffiths,
Robert Hood,
The Slackers,
Public Enemy,
Con Funk Shun,
Aswad,
Can,
Kango’s Stein Massive,
Erykah Badu,
Jerry's Kids,
Sonic Youth,
Black Bananas,
the Bar-Kays,
Terrestrial Tones,
Spandau Ballet,
Tom Boy,
Pet Shop Boys,
Vladislav Delay,
Marvin Gaye,
The Human League,
the Association,
Yellowson,
Jacques Brel,
Jeru the Damaja,
Joy Division,
the Soft Cell,
Mad Mike,
Arab on Radar,
Matthew Bourne,
Silicon Teens,
The Saints,
Hot Snakes,
Amon Düül,
Stiv Bators,
Sam Rivers,
Procol Harum,
Ludus,
Joe Finger,
Aaron Thompson,
Au Pairs,
the Slits,
Swell Maps,
Soft Cell,
Talk Talk,
The Angels of Light,
Art Ensemble Of Chicago,
Magazine, Magazine, Magazine, Magazine.
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.