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 Zambia and from Lagos.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Laurel Aitken to the punk kids.
I played it at the Hacienda.
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 kango's stein massive. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Guru Guru,
David Axelrod,
The Mojo Men,
The Walker Brothers,
Echospace,
Crispy Ambulance,
A Certain Ratio,
Pole,
DNA,
Warren Ellis,
Gary Puckett & The Union Gap,
Byron Stingily,
Interpol,
Eve St. Jones,
Lonnie Liston Smith,
Matthew Halsall,
Sun Ra Arkestra,
Hoover,
Audionom,
Thompson Twins,
Michelle Simonal,
The United States of America,
K-Klass,
Gabor Szabo,
The Sonics,
The Misunderstood,
Andrew Hill,
The Sound,
Make Up,
Red Lorry Yellow Lorry,
Dave Gahan,
Big Daddy Kane,
a-ha,
Rahsaan Roland Kirk,
Mr. Review,
the Sonics,
Sixth Finger,
David Bowie,
Lalann,
Camberwell Now,
Blossom Toes,
Reuben Wilson,
Joey Negro,
Scrapy,
Amazonics,
Monolake,
Ossler,
Essential Logic,
Dorothy Ashby,
Ajijia Myrayebe,
Theoretical Girls,
Vladislav Delay,
The Fortunes,
The Fall,
F. McDonald,
The Cowsills,
Roxette,
Captain Beefheart & His Magic Band,
The Moleskins,
Donny Hathaway,
Pussy Galore,
Barrington Levy,
JFA, JFA, JFA, JFA.
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.