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 Swaziland and from Philadelphia.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Halifax and Manchester.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 The Victims to the disco kids.
I played it at the 40 Watt.
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 Eve St. Jones. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
B.T. Express,
The Moleskins,
Selector Dub Narcotic,
Gil Scott-Heron & Brian Jackson,
Infiniti,
Rekid,
Urselle,
Vladislav Delay,
Yellowson,
H. Thieme,
The Peanut Butter Conspiracy,
The Skatalites,
Roxette,
The American Breed,
Yaz,
Cheater Slicks,
Monolake,
The Gun Club,
Terrestrial Tones,
The Leaves,
China Crisis,
The Gap Band,
The Cosmic Jokers,
Grauzone,
Circle Jerks,
Rakim,
The Fuzztones,
U.S. Maple,
Gabor Szabo,
Black Moon,
Outsiders,
Minor Threat,
Porter Ricks,
Motorama,
Black Flag,
Ken Boothe,
Bobbi Humphrey,
Depeche Mode,
The Index,
Crispy Ambulance,
Matthew Halsall,
Sound Behaviour,
Marc Romboy vs. Booka Shade,
DNA,
Moebius,
Visionaries,LMNO, T- Love & Iriscience,
Dr. Dre and Snoop Doggy Dog,
Trumans Water,
Robert Hood,
Sällskapet,
Yusef Lateef,
Tres Demented,
Bluetip,
Blancmange,
The Star Department,
Au Pairs,
KRS-One,
Ossler,
the Normal,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.