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 Mali and from Sao Paulo.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
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 Das Ding to the rock kids.
I played it at the Astoria.
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 Simply Red. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Man Parrish,
The Angels of Light,
Ice-T,
The Toasters,
Sixth Finger,
Maleditus Sound,
The Birthday Party,
Steve Hackett,
Anthony Braxton,
Gang Starr,
Bill Wells,
Swell Maps,
Saccharine Trust,
Buzzcocks,
Isaac Hayes,
Silicon Teens,
The Blackbyrds,
Tears for Fears,
Captain Beefheart & His Magic Band,
The Sisters of Mercy,
the Germs,
the Human League,
Deakin,
Moebius,
Roy Ayers Ubiquity,
The Misunderstood,
Schoolly D,
Glambeats Corp.,
Theoretical Girls,
Rapeman,
Alice Coltrane,
Wally Richardson,
Half Japanese,
Audionom,
Stockholm Monsters,
Derrick Morgan,
Kaleidoscope,
Moss Icon,
Inner City,
Radiohead,
Magma,
Quantec,
Joey Negro,
Eddi Front,
The Alarm Clocks,
Sly & The Family Stone,
Mad Mike,
Sun City Girls,
Faust,
The Durutti Column,
Camberwell Now,
Magazine,
Zapp,
Rahsaan Roland Kirk,
Larry & the Blue Notes,
Dark Day,
The Names,
Gabor Szabo,
Sun Ra,
Marmalade,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.