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 Thailand and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Simply Red to the rock kids.
I played it at the 40 Watt.
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 Flipper. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every James Chance & The Contortions 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 rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Sly & The Family Stone,
Letta Mbulu,
ABC,
Spoonie Gee,
James Chance & The Contortions,
Rites of Spring,
Colin Newman,
The Smoke,
Jacques Brel,
Amon Düül,
Goldenarms,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pussy Galore,
the Soft Cell,
the Bar-Kays,
The Flesh Eaters,
Sex Pistols,
D'Angelo,
Camberwell Now,
Cabaret Voltaire,
Grey Daturas,
Lindisfarne,
Alphaville,
The Cosmic Jokers,
Dark Day,
The Monochrome Set,
Sixth Finger,
The Blues Magoos,
Stetsasonic,
Siouxsie and the Banshees,
Blancmange,
The Young Rascals,
The Fugs,
New Age Steppers,
The Fuzztones,
The Associates,
Scan 7,
The Zeros,
The J.B.'s,
Althea and Donna,
Moebius,
OOIOO,
The Remains,
Main Source,
Television,
Stereo Dub,
48th St. Collective,
Pagans,
Urselle,
Surgeon,
Notorious BIG live in Amsterdam,
The Detroit Cobras,
Kerri Chandler,
Janne Schatter,
Severed Heads,
Aswad,
The Dead C,
Vladislav Delay,
the Normal,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.