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 Chile and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1967 to 1978.
I'm losing my edge.
To all the kids in New York and Lagos.
I'm losing my edge to the art-school Winnipeg 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Stereo Dub 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 Marmalade. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Orchestral Manoeuvres in the Dark,
Amon Düül II,
Skriet,
Wings,
Heavy D & The Boyz,
David Axelrod,
Urselle,
The Flesh Eaters,
James Chance & The Contortions,
The Black Dice,
Blake Baxter,
Junior Murvin,
Joensuu 1685,
Cheater Slicks,
Big Daddy Kane,
Deakin,
Ituana,
Pylon,
Massinfluence,
Frankie Knuckles,
Franke,
Leonard Cohen,
Index,
The Cowsills,
The Moody Blues,
Wasted Youth,
Von Mondo,
Gregory Isaacs,
The Moleskins,
Scientists,
L. Decosne,
Freddie Wadling,
The Fortunes,
The Move,
Piero Umiliani,
The West Coast Pop Art Experimental Band,
The Fuzztones,
Neil Young,
Yaz,
Kauko Röyhkä ja Narttu,
David Bowie,
Mr. Review,
Heaven 17,
Amazonics,
Minnie Riperton,
Blancmange,
Marshall Jefferson,
Lightning Bolt,
Ronnie Foster,
kango's stein massive,
Suburban Knight,
The Real Kids,
Mantronix,
Rakim,
The Standells,
Sex Pistols,
Camron Feat. Memphis Bleek And Beenie Seigel,
Davy DMX,
Nik Kershaw,
the Soft Cell,
Idris Muhammad,
Joey Negro,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.