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 Sweden and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Todd Rundgren to the grime kids.
I played it at the Crocodile.
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 The Associates. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Marc Almond,
Andrew Hill,
Public Image Ltd.,
Eddi Front,
Marc Romboy vs. Booka Shade,
Wasted Youth,
The Buckinghams,
Unwound,
Ultimate Spinach,
Gregory Isaacs,
Talk Talk,
The West Coast Pop Art Experimental Band,
Loose Ends,
Swell Maps,
Fifty Foot Hose,
Yellowson,
Toni Rubio,
Flash Fearless,
Soft Machine,
Severed Heads,
Nick Fraelich,
The New Christs,
Skriet,
Andrew Ashong & Theo Parrish,
Infiniti,
Fela Kuti,
Shuggie Otis,
Pere Ubu,
The Last Poets,
Lindisfarne,
Matthew Bourne,
Harpers Bizarre,
Massinfluence,
Howard Jones,
The Offenders,
Boogie Down Productions,
The Kinks,
Black Bananas,
Subhumans,
Clear Light,
Todd Rundgren,
Bobby Byrd,
Siouxsie and the Banshees,
The Cosmic Jokers,
AZ,
Ossler,
The Durutti Column,
MC5,
Kauko Röyhkä ja Narttu,
Bang On A Can,
Monks,
PIL,
The Young Rascals,
a-ha,
Qualms,
Can,
Barbara Tucker,
Los Fastidios,
Blancmange,
Jeff Lynne,
The Moody Blues,
Warsaw, Warsaw, Warsaw, Warsaw.
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.