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 Turkmenistan and from Jakarta.
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 1970.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Paris 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 synthesizer 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 Anakelly to the electroclash kids.
I played it at CBGB's.
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 Tommy Roe. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Roxette 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Silicon Teens,
Liliput,
Oblivians,
Judy Mowatt,
Rekid,
The Remains,
Grandmaster Flash and the Furious Five,
Visage,
The Move,
Ultravox,
The Monks,
Camouflage,
Danielle Patucci,
These Immortal Souls,
Anthony Braxton,
Dennis Brown,
Tears for Fears,
Depeche Mode,
Lou Reed & John Cale,
One Last Wish,
Roy Ayers Ubiquity,
Strawberry Alarm Clock,
Lungfish,
Arab on Radar,
Fluxion,
the Germs,
Bobbi Humphrey,
The Chocolate Watch Band,
Camron Feat. Jay Z And Juelz,
Cameo,
The Busters,
Easy Going,
Slick Rick,
Inner City,
The Royal Family And The Poor,
Sly & The Family Stone,
Blossom Toes,
Deutsch Amerikanische Freundschaft,
Crooked Eye,
Joy Division,
Godley & Creme,
Saccharine Trust,
London Community Gospel Choir,
Gichy Dan,
Orchestral Manoeuvres in the Dark,
Loose Ends,
The Mummies,
Man Parrish,
Sonny Sharrock,
Camberwell Now,
Faraquet,
Morten Harket,
Girls At Our Best!,
Average White Band,
Deadbeat,
Harmonia,
Hashim,
Henry Cow,
The Neon Judgement,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.