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 Paraguay and from Manila.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1978.
I'm losing my edge.
To all the kids in Lille and Hong Kong.
I'm losing my edge to the art-school Columbus 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 808 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 Gang of Four to the rock kids.
I played it at the Spitz.
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 Terrestrial Tones. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
The Music Machine,
Siouxsie and the Banshees,
Electric Prunes,
The Tremeloes,
Ken Boothe,
The Evens,
Kenny Larkin,
Ten City,
Stetsasonic,
Jesper Dahlbäck,
Dorothy Ashby,
Donny Hathaway,
Morten Harket,
Flash Fearless,
Symarip,
Rapeman,
The Birthday Party,
Scion,
Faraquet,
Roger Hodgson,
Yellowson,
Japan,
Pulsallama,
Isaac Hayes,
Alton Ellis,
Ohio Players,
Manfred Mann's Earth Band,
Nick Cave & The Bad Seeds,
Lonnie Liston Smith,
Gong,
Magma,
Black Pus,
Absolute Body Control,
Andrew Ashong & Theo Parrish,
Aswad,
Camouflage,
Carl Craig,
Mark Hollis,
The Divine Comedy,
Stiv Bators,
The Offenders,
Lower 48,
Scott Walker + Sunn O))),
Skriet,
Organ,
Steve Hackett,
David Axelrod,
Beasts of Bourbon,
Qualms,
Skarface,
Chrome,
Peter & Gordon,
Unwound,
The Dave Clark Five,
Warsaw,
Country Teasers,
Brand Nubian,
The Fire Engines,
Joy Division,
Terror Squad Feat. Camron,
The Dead C,
Donald Byrd,
Goldenarms,
PIL, PIL, PIL, PIL.
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.