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 Uruguay 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 1963 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Glasgow 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Nation of Ulysses to the rap kids.
I played it at the Troubador.
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 Danielle Patucci. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
The Sound,
The Slits,
Pharaoh Sanders and the Fire Engines,
The Cowsills,
Sight & Sound,
The Fire Engines,
The Monochrome Set,
Ronnie Foster,
Bill Wells,
Kerri Chandler,
FM Einheit,
Nick Fraelich,
Morten Harket,
The Zeros,
Beasts of Bourbon,
The Selecter,
Rakim,
Eyeless In Gaza,
Agent Orange,
Main Source,
Gastr Del Sol,
Glenn Branca,
Andrew Ashong & Theo Parrish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Clear Light,
Jerry Gold Smith,
Niagra,
Roger Hodgson,
Loose Ends,
Ultramagnetic MC's,
Sarah Menescal,
Cameo,
The Durutti Column,
Warren Ellis,
Eric B and Rakim,
Accadde A,
Ultimate Spinach,
Bobbi Humphrey,
Lightning Bolt,
Icehouse,
Jacques Brel,
Tomorrow,
The Fuzztones,
The Electric Prunes,
Masters at Work,
Albert Ayler,
Eddi Front,
MDC,
Moebius,
DJ Sneak,
Bootsy Collins,
Grey Daturas,
Fatback Band,
Connie Case,
Pylon,
Delon & Dalcan,
Erasure,
Neil Young,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.