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 Colombia and from Copenhagen.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Slits to the rap 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 Bob Dylan. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Altered Images,
Joyce Sims,
Scratch Acid,
the Slits,
Technova,
Tropical Tobacco,
Unrelated Segments,
Man Parrish,
Carl Craig,
Sun City Girls,
Ultramagnetic MC's,
Bob Dylan,
Matthew Bourne,
Juan Atkins,
Infiniti,
Blake Baxter,
Mark Hollis,
The Wake,
Joensuu 1685,
Bootsy Collins,
Maleditus Sound,
Wally Richardson,
The Sisters of Mercy,
Grandmaster Flash and the Furious Five,
Liaisons Dangereuses,
Todd Rundgren,
Terrestrial Tones,
Sun Ra,
Lebanon Hanover,
The Selecter,
Jesper Dahlback,
Bush Tetras,
Crash Course in Science,
Oblivians,
Sonny Sharrock,
The Stooges,
T.S.O.L.,
Mr. Review,
Oppenheimer Analysis,
Rhythim Is Rhythim,
Goldenarms,
Aloha Tigers,
Crispy Ambulance,
Ossler,
Kas Product,
Fad Gadget,
Banda Bassotti,
It's A Beautiful Day,
The Offenders,
Silicon Teens,
Eurythmics,
The Smoke,
Thompson Twins,
The Golliwogs,
Red Lorry Yellow Lorry,
Minnie Riperton,
Avey Tare,
Newcleus,
The United States of America,
The Fire Engines,
The Zeros,
Maurizio,
Terror Squad Feat. Camron,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.