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 Comoros and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Calgary.
I'm losing my edge to the art-school Salvador 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 güiro 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 The Leaves to the punk 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 Von Mondo. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Erasure 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Bobby Hutcherson,
Terrestrial Tones,
Johnny Clarke,
Country Joe & The Fish,
Camberwell Now,
The Young Rascals,
Amon Düül,
Eli Mardock,
Peter & Gordon,
Section 25,
U.S. Maple,
The Raincoats,
Fat Boys,
The Divine Comedy,
Sonic Youth,
Black Pus,
John Foxx,
Godley & Creme,
The Buckinghams,
The Mighty Diamonds,
Mr. Review,
Lee Hazlewood,
Smog,
Young Marble Giants,
The Move,
Warsaw,
The Moody Blues,
Cameo,
The Martian,
K-Klass,
Kurtis Blow,
Boogie Down Productions,
Fluxion,
Monolake,
Spandau Ballet,
Eric B and Rakim,
Gang Gang Dance,
Grauzone,
Dorothy Ashby,
The Human League,
John Coltrane,
Accadde A,
Oblivians,
Fela Kuti,
Letta Mbulu,
Nico,
The Selecter,
Andrew Ashong & Theo Parrish,
Funky Four + One,
Flash Fearless,
The Royal Family And The Poor,
Idris Muhammad,
The Knickerbockers,
Ponytail,
Robert Hood,
Marc Romboy vs. Booka Shade,
Black Bananas,
The Associates,
Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family.
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.