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 Denmark and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Bremen 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 guitar 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 Jesper Dahlbäck to the punk kids.
I played it at Cafe Wha.
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 Rhythim Is Rhythim. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every The Monochrome Set 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Flamin' Groovies,
CMW,
Yaz,
Q and Not U,
Half Japanese,
The New Christs,
The Count Five,
The Jesus and Mary Chain,
Soft Cell,
The West Coast Pop Art Experimental Band,
London Community Gospel Choir,
The Star Department,
Justin Hinds & The Dominoes,
Camberwell Now,
Country Teasers,
Dave Gahan,
The Trojans,
Soulsonic Force,
MDC,
Subhumans,
Eurythmics,
Hasil Adkins,
Icehouse,
Loose Ends,
Scion,
Gang Gang Dance,
Mark Hollis,
Television,
Robert Görl,
Arthur Verocai,
Absolute Body Control,
Second Layer,
Sällskapet,
The Gories,
Simply Red,
Quadrant,
Anakelly,
Gary Puckett & The Union Gap,
Bobbi Humphrey,
The Invisible,
Public Image Ltd.,
Kings Of Tomorrow,
Con Funk Shun,
Brand Nubian,
Morten Harket,
Marcia Griffiths,
Neil Young & Crazy Horse,
Scratch Acid,
The Angels of Light,
Vainqueur,
Frankie Knuckles,
Royal Trux,
Tommy Roe,
Vaughan Mason & Crew,
Scan 7,
Byron Stingily,
Neil Young,
Don Cherry,
Bluetip,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.