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 Uruguay and from Paris.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Toronto 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 theremin 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 Agent Orange to the techno kids.
I played it at the Spitz.
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 Terror Squad Feat. Camron. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every The Smoke 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Bauhaus,
Lou Reed & John Cale,
Jacob Miller,
Excepter,
Monks,
Nick Fraelich,
The Dirtbombs,
Bluetip,
The Litter,
Funky Four + One,
Main Source,
Terrestrial Tones,
Warren Ellis,
Byron Stingily,
Young Marble Giants,
Newcleus,
Lyres,
The Sound,
Jacques Brel,
Selector Dub Narcotic,
The Men They Couldn't Hang,
Accadde A,
Manfred Mann's Earth Band,
Roger Hodgson,
Dorothy Ashby,
Eddi Front,
Black Sheep,
Drexciya,
The Seeds,
the Slits,
FM Einheit,
The Real Kids,
Altered Images,
Derrick May,
Neu!,
Dark Day,
Groovy Waters,
Japan,
Siouxsie and the Banshees,
The Fire Engines,
The West Coast Pop Art Experimental Band,
Mr. Review,
Harmonia,
Roxette,
Slave,
Rhythim Is Rhythim,
The Saints,
Robert Görl,
Leonard Cohen,
The Mojo Men,
Dawn Penn,
The Fall,
Chris Corsano,
Peter Gordon & Love of Life Orchestra,
CMW,
Second Layer,
X-101,
Tim Buckley,
Rites of Spring,
Monolake,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.