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 Korea South 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 1962 to 1979.
I'm losing my edge.
To all the kids in Manchester and Manila.
I'm losing my edge to the art-school Lyon 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Inner City to the jazz 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 Michelle Simonal. All the underground hits.
All Kevin Saunderson 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 crunk 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Lou Reed & Metallica,
Ituana,
The Techniques,
Visage,
Sad Lovers and Giants,
DeepChord presents Echospace,
ABBA,
Amazonics,
Roger Hodgson,
Pagans,
Deakin,
R.M.O.,
Slick Rick,
Hardrive,
Rhythm & Sound,
Visionaries,LMNO, T- Love & Iriscience,
Marvin Gaye,
The Raincoats,
Guru Guru,
The Gap Band,
The Sisters of Mercy,
Funkadelic,
Liliput,
Franke,
The Doobie Brothers,
Minor Threat,
John Holt,
Gil Scott-Heron & Brian Jackson,
Orchestral Manoeuvres in the Dark,
Suicide,
Minny Pops,
Tres Demented,
Rapeman,
Big Daddy Kane,
Porter Ricks,
Bob Dylan,
Motorama,
Massinfluence,
Piero Umiliani,
Hasil Adkins,
Cabaret Voltaire,
June of 44,
The Trojans,
Bush Tetras,
B.T. Express,
These Immortal Souls,
Malaria!,
Arcadia,
ABC,
Flash Fearless,
Schoolly D,
James White and The Blacks,
Sugar Minott,
The Shadows of Knight,
Gang Gang Dance,
Masters at Work,
Gang Starr,
Terrestrial Tones,
Vladislav Delay,
Boz Scaggs,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.