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 Papua New Guinea and from Houston.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1978.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 rhodes 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 B.T. Express to the rap kids.
I played it at Cafe Wha.
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 Louis and Bebe Barron. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Albert Ayler,
Aloha Tigers,
Ralphi Rosario,
Accadde A,
Au Pairs,
Gabor Szabo,
Pharaoh Sanders and the Fire Engines,
Pagans,
The Flesh Eaters,
Pussy Galore,
Bobby Womack,
Notorious Big And Bone Thugs,
Johnny Clarke,
London Community Gospel Choir,
The Alarm Clocks,
June of 44,
Yazoo,
Selector Dub Narcotic,
The Pop Group,
Nick Fraelich,
Echo & the Bunnymen,
Mission of Burma,
The Young Rascals,
New Age Steppers,
Harmonia,
Ronnie Foster,
Visage,
Arthur Verocai,
Shoche,
The Gories,
It's A Beautiful Day,
The Wake,
Groovy Waters,
The Angels of Light,
Tears for Fears,
Talk Talk,
Whodini,
Soft Cell,
In Retrospect,
Gil Scott-Heron & Brian Jackson,
Maleditus Sound,
Be Bop Deluxe,
Smog,
Bob Dylan,
Ludus,
Make Up,
Essential Logic,
The Offenders,
Funkadelic,
Brand Nubian,
Ronan,
the Sonics,
Kerri Chandler,
Jeru the Damaja,
Pylon,
Icehouse,
The Sound,
Faust,
Eric Copeland,
Barclay James Harvest,
Andrew Ashong & Theo Parrish,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.