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 Brazil and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Mumbai 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Men They Couldn't Hang to the dance kids.
I played it at the Astoria.
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 Suburban Knight. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Chris Corsano record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
The Shadows of Knight,
Patti Smith,
Grauzone,
The American Breed,
Popol Vuh,
Audionom,
Jerry's Kids,
Fort Wilson Riot,
Fela Kuti,
Slick Rick,
Nik Kershaw,
Lou Christie,
Hoover,
The Cowsills,
Warren Ellis,
Skarface,
Bluetip,
The Velvet Underground,
Q65,
Neu!,
Sight & Sound,
Radiohead,
Josef K,
Marcia Griffiths,
Alice Coltrane,
Eyeless In Gaza,
Wighnomy Brothers & Robag Wruhme,
Sad Lovers and Giants,
Nation of Ulysses,
The Cure,
Whodini,
Ralphi Rosario,
Tres Demented,
Althea and Donna,
Duran Duran,
Archie Shepp,
Lou Reed,
Brothers Johnson,
Lucky Dragons,
X-102,
Easy Going,
Suicide,
Gerry Rafferty,
Technova,
Tropical Tobacco,
Section 25,
The Toasters,
Chris Corsano,
Kenny Larkin,
Kauko Röyhkä ja Narttu,
Soulsonic Force,
Kevin Saunderson,
Kerri Chandler,
Steve Hackett,
Lebanon Hanover,
The Invisible,
The Searchers,
Guru Guru,
Big Daddy Kane,
Royal Trux,
The Modern Lovers,
The Human League, The Human League, The Human League, The Human League.
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.