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 Zimbabwe 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 1967 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Tokyo 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 sitar 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 Boz Scaggs to the disco kids.
I played it at the Troubador.
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 Manfred Mann's Earth Band. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Searchers record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
the Association,
Eurythmics,
Q and Not U,
The Gories,
the Slits,
Underground Resistance,
Kas Product,
New Order,
Arthur Verocai,
Sun City Girls,
Icehouse,
Pantytec,
The Stooges,
Frankie Knuckles,
Boz Scaggs,
Ohio Players,
Sarah Menescal,
The Sonics,
Y Pants,
Fluxion,
EPMD,
Grandmaster Flash,
Shoche,
8 Eyed Spy,
Tubeway Army,
Al Stewart,
Judy Mowatt,
Bootsy's Rubber Band,
Inner City,
The Flesh Eaters,
Pere Ubu,
Cymande,
One Last Wish,
Minor Threat,
Sticky Fingaz feat. Raekwon,
Scion,
Jerry Gold Smith,
Pete Rock & C.L. Smooth,
Man Parrish,
Alton Ellis,
Tom Boy,
Yellowson,
the Sonics,
Aural Exciters,
Aaron Thompson,
Brothers Johnson,
The Electric Prunes,
The Martian,
Warren Ellis,
Bang On A Can,
Alison Limerick,
Röyhkä ja Rättö ja Lehtisalo,
Pharaoh Sanders and the Fire Engines,
ABC,
Symarip,
Easy Going,
Alice Coltrane,
Notorious Big And Bone Thugs,
Heaven 17,
DNA,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.