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 Papua New Guinea and from Delhi.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South 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 Derrick May to the dance 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 Wolf Eyes. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
The Alarm Clocks,
Japan,
Adolescents,
The Victims,
Heaven 17,
The West Coast Pop Art Experimental Band,
The Invisible,
Joe Finger,
Marc Romboy vs. Booka Shade,
Deutsch Amerikanische Freundschaft,
Matthew Bourne,
Pole,
Tim Buckley,
Wally Richardson,
Ultra Naté,
Schoolly D,
Bootsy's Rubber Band,
Masters at Work,
Supertramp,
Glambeats Corp.,
Mantronix,
Dark Day,
Flamin' Groovies,
X-101,
Yaz,
Crispian St. Peters,
Deadbeat,
Siglo XX,
Smog,
Aloha Tigers,
Kevin Saunderson,
Eric B and Rakim,
Black Pus,
Richard Hell and the Voidoids,
Anakelly,
Judy Mowatt,
Simply Red,
The Gladiators,
Pete Rock & C.L. Smooth,
Television Personalities,
Boogie Down Productions,
Brass Construction,
The Shadows of Knight,
Sad Lovers and Giants,
Graham Central Station,
Hashim,
The Wake,
Lou Christie,
Tomorrow,
Red Lorry Yellow Lorry,
The Standells,
Fear,
Sarah Menescal,
Ronan,
The Human League,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Orchestral Manoeuvres in the Dark,
Nik Kershaw,
Ken Boothe,
FM Einheit,
Mad Mike,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.