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 Indonesia and from Portland.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Seoul and Mexico City.
I'm losing my edge to the art-school London 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 Motorama to the crunk kids.
I played it at the Roxy.
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 Lakeside. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Crispian St. Peters 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 '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
The Saints,
Art Ensemble Of Chicago,
Con Funk Shun,
Sister Nancy,
The Gories,
Niagra,
Country Joe & The Fish,
June Days,
Sunsets and Hearts,
Orchestral Manoeuvres in the Dark,
10cc,
Graham Central Station,
Ronan,
Mad Mike,
Laurel Aitken,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lower 48,
Bobby Sherman,
Model 500,
Gong,
Albert Ayler,
Lalo Schifrin,
John Cale,
Deepchord,
Henry Cow,
DNA,
Avey Tare,
Eurythmics,
JFA,
Agent Orange,
The Durutti Column,
Blossom Toes,
The Real Kids,
Black Moon,
Todd Rundgren,
Royal Trux,
Scion,
cv313,
Visage,
Pere Ubu,
E-Dancer,
Fort Wilson Riot,
The Divine Comedy,
Stockholm Monsters,
Marshall Jefferson,
Ash Ra Tempel,
The Modern Lovers,
Grandmaster Flash and the Furious Five,
Neil Young,
Tropical Tobacco,
Sly & The Family Stone,
Drexciya,
Johnny Clarke,
The Mighty Diamonds,
Second Layer,
Radio Birdman,
Delta 5,
Metal Thangz,
Technova,
Beasts of Bourbon,
Von Mondo,
The Martian,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.