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 San Marino 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 1961 to 1976.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Jeff Mills to the funk 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 Techniques. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Minnie Riperton 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Arthur Verocai,
Con Funk Shun,
The Slits,
Kool Moe Dee,
Can,
Sarah Menescal,
Marmalade,
Goldenarms,
Stiv Bators,
Essential Logic,
Altered Images,
Bang On A Can,
Eric Dolphy,
Orchestral Manoeuvres in the Dark,
Youth Brigade,
Gastr Del Sol,
Barclay James Harvest,
Jacques Brel,
Deepchord,
Suburban Knight,
Hoover,
Blancmange,
Bobbi Humphrey,
Ohio Players,
Alphaville,
Byron Stingily,
DJ Style,
Gabor Szabo,
Amon Düül,
OOIOO,
Kings Of Tomorrow,
Lower 48,
Country Joe & The Fish,
Dual Sessions,
Kauko Röyhkä ja Narttu,
Quadrant,
Marshall Jefferson,
Q and Not U,
Rapeman,
Public Enemy,
Pierre Henry,
Joey Negro,
Moebius,
Echospace,
Gang Starr,
Bauhaus,
the Germs,
Motorama,
Davy DMX,
the Swans,
Fort Wilson Riot,
Trumans Water,
Smog,
Rites of Spring,
Graham Central Station,
Flash Fearless,
The Happenings,
Underground Resistance,
Von Mondo,
Q65, Q65, Q65, Q65.
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.