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 Botswana and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Madrid 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Barbara Tucker to the punk 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 Kerri Chandler. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Drexciya,
EPMD,
New Order,
The Modern Lovers,
Sexual Harrassment,
Oneida,
the Normal,
Pagans,
The Smoke,
DNA,
Deakin,
Banda Bassotti,
Peter Gordon & Love of Life Orchestra,
The Barracudas,
Kerrie Biddell,
The Moody Blues,
Make Up,
Amon Düül,
Ronnie Foster,
The Gap Band,
UT,
Lightning Bolt,
Sister Nancy,
the Fania All-Stars,
The Fuzztones,
JFA,
Eli Mardock,
E-Dancer,
Interpol,
Second Layer,
Sad Lovers and Giants,
Minnie Riperton,
Marine Girls,
John Holt,
Can,
Ash Ra Tempel,
Ultra Naté,
Drive Like Jehu,
Chrome,
Zapp,
Louis and Bebe Barron,
The Sisters of Mercy,
Rites of Spring,
Curtis Mayfield,
Hoover,
Simply Red,
Arab on Radar,
John Foxx,
June of 44,
Funky Four + One,
Delon & Dalcan,
Mr. Review,
Maurizio,
Ajijia Myrayebe,
the Human League,
Orchestral Manoeuvres in the Dark,
Hashim,
Rhythim Is Rhythim,
ABC,
Unwound, Unwound, Unwound, Unwound.
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.