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 Lesotho and from Manchester.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Roxy Music 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 Faust. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Fat Boys,
Electric Light Orchestra,
Television,
cv313,
Rites of Spring,
the Bar-Kays,
Nirvana,
The Selecter,
Tropical Tobacco,
The Residents,
Arthur Verocai,
Marc Almond,
Skarface,
The Young Rascals,
Terror Squad Feat. Camron,
Curtis Mayfield,
Avey Tare's Slasher Flicks,
Pet Shop Boys,
The Dirtbombs,
H. Thieme,
Ice-T,
Rapeman,
Cameo,
Red Lorry Yellow Lorry,
K-Klass,
John Foxx,
Stiv Bators,
The Men They Couldn't Hang,
Nils Olav,
Roger Hodgson,
Jerry's Kids,
Amon Düül,
T. Rex,
Drive Like Jehu,
Wasted Youth,
Camberwell Now,
The Durutti Column,
Arcadia,
Gong,
The Move,
X-101,
Andrew Hill,
Kango’s Stein Massive,
David McCallum,
Grey Daturas,
Blancmange,
Radio Birdman,
Laurel Aitken,
Anakelly,
The Smoke,
Livin' Joy,
Fela Kuti,
Morten Harket,
Dorothy Ashby,
Con Funk Shun,
D'Angelo,
Eddi Front,
F. McDonald,
Icehouse,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.