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 Guatemala and from Glasgow.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Halifax 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 10cc to the grime 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 Notorious Big And Bone Thugs. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Detroit Cobras,
Roxette,
Duran Duran,
Shuggie Otis,
The Human League,
Popol Vuh,
Monks,
Ludus,
Electric Light Orchestra,
Fugazi,
Wolf Eyes,
De La Soul & Jungle Brothers,
X-Ray Spex,
Lee Hazlewood,
10cc,
Sexual Harrassment,
The Smiths,
Deepchord,
Adolescents,
Robert Hood,
Lower 48,
Pagans,
Tom Boy,
Wings,
Charles Mingus,
Curtis Mayfield,
Lindisfarne,
Pole,
Fat Boys,
The Martian,
The Trojans,
Country Teasers,
Chris & Cosey,
Pylon,
Boz Scaggs,
Terrestrial Tones,
OOIOO,
The Vogues,
Sister Nancy,
Andrew Hill,
The Shadows of Knight,
Terry Callier,
The Last Poets,
Rekid,
The Five Americans,
Sly & The Family Stone,
Basic Channel,
Eric Dolphy,
Grauzone,
LL Cool J,
Altered Images,
The Fire Engines,
The Gladiators,
Eden Ahbez,
Barbara Tucker,
Gong,
Grandmaster Flash and the Furious Five,
Neil Young,
Art Ensemble Of Chicago,
Avey Tare's Slasher Flicks,
Faraquet,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.