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 Cape Verde and from Seoul.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Brass Construction to the crunk kids.
I played it at CBGB's.
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 Essential Logic. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
The Beau Brummels,
Marc Almond,
Terror Squad Feat. Camron,
Yazoo,
Marcia Griffiths,
Super Lover Cee & Casanova Rud,
Connie Case,
The Raincoats,
Thee Headcoats,
Marine Girls,
Tom Boy,
Negative Approach,
The Men They Couldn't Hang,
Bobbi Humphrey,
Ice-T,
Skarface,
The Human League,
Visage,
Babytalk,
T. Rex,
the Soft Cell,
Patti Smith,
Buzzcocks,
Cabaret Voltaire,
Brothers Johnson,
Ajijia Myrayebe,
James White and The Blacks,
Kauko Röyhkä ja Narttu,
Laurel Aitken,
kango's stein massive,
Lower 48,
Underground Resistance,
Eddi Front,
The Electric Prunes,
Scott Walker,
Fatback Band,
The Fire Engines,
Deakin,
Amazonics,
Alison Limerick,
Interpol,
Strawberry Alarm Clock,
Scratch Acid,
Avey Tare's Slasher Flicks,
The Dave Clark Five,
The Count Five,
Kool G Rap & DJ Polo,
Lalo Schifrin,
Quantec,
Amon Düül II,
The Gories,
Ronan,
Neil Young,
a-ha,
Ultramagnetic MC's,
Curtis Mayfield,
Neu!,
The Zeros,
Bobby Womack,
The Invisible,
Altered Images,
Infiniti, Infiniti, Infiniti, Infiniti.
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.