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 Slovakia and from Taipei.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Graham Central Station to the disco 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 Anakelly. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Icehouse,
Rhythm & Sound,
Sad Lovers and Giants,
The Modern Lovers,
Monolake,
Laurel Aitken,
Tomorrow,
8 Eyed Spy,
Rhythim Is Rhythim,
Symarip,
Kayak,
Marc Romboy vs. Booka Shade,
Joe Finger,
Moby Grape,
Soul II Soul,
New Order,
JFA,
cv313,
Kerrie Biddell,
Shuggie Otis,
Crispian St. Peters,
Reagan Youth,
Sarah Menescal,
Godley & Creme,
Porter Ricks,
Kenny Larkin,
The Cramps,
Popol Vuh,
MDC,
Animal Collective,
Slave,
Ultimate Spinach,
Peter and Kerry,
Pharaoh Sanders and the Fire Engines,
Johnny Osbourne,
The Dave Clark Five,
The Monks,
Mo-Dettes,
Minny Pops,
Severed Heads,
Moebius,
Mark Hollis,
Scott Walker,
Anthony Braxton,
Sight & Sound,
Erasure,
David Axelrod,
Ossler,
the Bar-Kays,
Strawberry Alarm Clock,
Angels of Light & Akron/Family,
Rakim,
The Alarm Clocks,
Mad Mike,
Sällskapet,
Siglo XX,
Traffic Nightmare,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.