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 Malaysia and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school Shanghai 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 Robert Palmer 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 Essential Logic to the dance kids.
I played it at the Hacienda.
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 Kurtis Blow. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your marimba and bought an organ.
I hear that you and your band have sold your organ and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
The Busters,
Electric Light Orchestra,
Soft Machine,
Barrington Levy,
Rufus Thomas,
The Mummies,
The Fuzztones,
Reuben Wilson,
The Leaves,
Visionaries,LMNO, T- Love & Iriscience,
Hashim,
The Modern Lovers,
Liaisons Dangereuses,
Lucky Dragons,
Mission of Burma,
Roxy Music,
The Shadows of Knight,
Moss Icon,
Grauzone,
Buzzcocks,
Lungfish,
Unwound,
Eric B and Rakim,
Massinfluence,
DNA,
Bobby Sherman,
Althea and Donna,
Patti Smith,
Cluster,
Janne Schatter,
Altered Images,
the Association,
R.M.O.,
Blancmange,
Wire,
Simply Red,
LL Cool J,
Lower 48,
Soft Cell,
The Men They Couldn't Hang,
JFA,
Guru Guru,
Funkadelic,
Bang On A Can,
The Divine Comedy,
The Beau Brummels,
Donny Hathaway,
Urselle,
Avey Tare,
Lou Reed & John Cale,
The Cosmic Jokers,
The Durutti Column,
the Germs,
Johnny Clarke,
The Five Americans,
Crispian St. Peters,
Duran Duran,
Flipper,
Brothers Johnson,
Judy Mowatt,
Black Moon, Black Moon, Black Moon, Black Moon.
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.