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 Argentina and from Bremen.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Hong Kong 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Qualms to the crunk 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 Rosa Yemen. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
a-ha,
Dark Day,
ABC,
Strawberry Alarm Clock,
The Doors,
Matthew Bourne,
K-Klass,
The Wake,
Organ,
48th St. Collective,
James White and The Blacks,
Bobby Womack,
Man Parrish,
The Cosmic Jokers,
Janne Schatter,
The Saints,
Television Personalities,
The Slits,
the Normal,
Sunsets and Hearts,
Jeff Mills,
Girls At Our Best!,
Gregory Isaacs,
Jawbox,
CMW,
The Pretty Things,
Dual Sessions,
Adolescents,
The Cure,
Agitation Free,
Aural Exciters,
Spandau Ballet,
The Motions,
Michelle Simonal,
The Count Five,
The Smoke,
London Community Gospel Choir,
Malaria!,
Blossom Toes,
Wally Richardson,
The Gories,
The Dead C,
Fad Gadget,
The Fire Engines,
The Alarm Clocks,
The Techniques,
The Doobie Brothers,
Henry Cow,
Sixth Finger,
Monolake,
UT,
The Tremeloes,
It's A Beautiful Day,
Scion,
Andrew Ashong & Theo Parrish,
AZ,
Steve Hackett,
KRS-One,
the Sonics,
X-Ray Spex,
Dr. Dre and Snoop Doggy Dog,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.