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 Ivory Coast and from Tokyo.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Winnipeg.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 the Normal to the techno 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 Swell Maps. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Judy Mowatt,
Rapeman,
Wolf Eyes,
The Cramps,
Von Mondo,
Kauko Röyhkä ja Narttu,
Max Romeo,
Heaven 17,
The Pretty Things,
Kevin Saunderson,
Moebius,
Cal Tjader,
Arab on Radar,
Surgeon,
Notorious BIG live in Amsterdam,
Sexual Harrassment,
Porter Ricks,
H. Thieme,
Lakeside,
Lonnie Liston Smith,
Trumans Water,
Symarip,
Cybotron,
The Smoke,
Marc Romboy vs. Booka Shade,
Glenn Branca,
Roy Ayers,
Guru Guru,
Absolute Body Control,
Ralphi Rosario,
Isaac Hayes,
The Mojo Men,
The Divine Comedy,
MC5,
It's A Beautiful Day,
Neil Young,
Jeru the Damaja,
Nils Olav,
China Crisis,
Andrew Ashong & Theo Parrish,
The Index,
Dave Gahan,
Tim Buckley,
Liliput,
The Standells,
New Age Steppers,
Sugar Minott,
Circle Jerks,
Ken Boothe,
Tears for Fears,
Cymande,
Alphaville,
Spandau Ballet,
In Retrospect,
Swell Maps,
Skriet,
Delon & Dalcan,
David McCallum,
Inner City,
The Mummies, The Mummies, The Mummies, The Mummies.
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.