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 Moldova and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Rapeman to the jazz 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 Michelle Simonal. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Sexual Harrassment 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Delon & Dalcan,
Sun City Girls,
Crispy Ambulance,
Idris Muhammad,
Scratch Acid,
Juan Atkins,
Nation of Ulysses,
Lonnie Liston Smith,
Lalann,
The Fall,
Peter Gordon & Love of Life Orchestra,
Steve Hackett,
Rahsaan Roland Kirk,
Pussy Galore,
The Fuzztones,
Spoonie Gee,
Arab on Radar,
Jeff Mills,
Khruangbin,
June Days,
Red Lorry Yellow Lorry,
Henry Cow,
The Names,
The Seeds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Black Sheep,
Electric Light Orchestra,
Kas Product,
Tropical Tobacco,
Maleditus Sound,
Anakelly,
Skarface,
Cymande,
Cal Tjader,
Susan Cadogan,
Masters at Work,
Black Moon,
Prince Buster,
Rapeman,
Al Stewart,
Altered Images,
Outsiders,
Surgeon,
The Buckinghams,
Sister Nancy,
8 Eyed Spy,
The Litter,
Soulsonic Force,
Ludus,
Godley & Creme,
Stetsasonic,
Smog,
Rotary Connection,
Goldenarms,
The Velvet Underground,
Josef K,
The Cramps,
Adolescents,
the Slits,
Banda Bassotti,
Eric B and Rakim,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.