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 Nepal and from Bologna.
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 1972.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Bremen 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 harpsichord 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 Magazine to the techno kids.
I played it at Trash.
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 Eric Copeland. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Model 500,
Slave,
Eurythmics,
Robert Görl,
Siouxsie and the Banshees,
The Martian,
Depeche Mode,
Nik Kershaw,
Curtis Mayfield,
The Real Kids,
Harpers Bizarre,
Urselle,
The Last Poets,
Chrome,
Essential Logic,
A Flock of Seagulls,
Brass Construction,
Bobby Byrd,
Mary Jane Girls,
Deutsch Amerikanische Freundschaft,
Black Flag,
Index,
The Misunderstood,
The Slackers,
Shoche,
Orchestral Manoeuvres in the Dark,
Blake Baxter,
Grauzone,
Cheater Slicks,
Underground Resistance,
The Knickerbockers,
Pet Shop Boys,
The Associates,
Gang of Four,
The Sound,
Kings Of Tomorrow,
Barrington Levy,
Simply Red,
Pere Ubu,
Television,
Ludus,
Gian Franco Pienzio,
Ten City,
Cecil Taylor,
8 Eyed Spy,
David Axelrod,
Warren Ellis,
Oblivians,
The Pretty Things,
Zapp,
Alton Ellis,
Vladislav Delay,
The Gories,
Outsiders,
Rosa Yemen,
Yazoo,
Toni Rubio,
Cameo,
Bootsy's Rubber Band,
Anakelly,
T.S.O.L.,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.