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 Albania and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Milan and Shanghai.
I'm losing my edge to the art-school Lille 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 theremin sounds with much patience.
I was there when Michael McDonald 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 In Retrospect to the techno 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 Bronski Beat. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Stereo Dub 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Michelle Simonal,
Bobby Hutcherson,
Scientists,
KRS-One,
Cheater Slicks,
Pharaoh Sanders and the Fire Engines,
Sunsets and Hearts,
Electric Prunes,
kango's stein massive,
Todd Rundgren,
Soft Cell,
Terror Squad Feat. Camron,
Organ,
Eden Ahbez,
Byron Stingily,
Robert Hood,
Susan Cadogan,
These Immortal Souls,
Stiv Bators,
Bill Wells,
E-Dancer,
Tom Boy,
X-101,
Hashim,
Brand Nubian,
Sonic Youth,
Sexual Harrassment,
Ituana,
Agitation Free,
Aswad,
Graham Central Station,
Ten City,
X-Ray Spex,
Das Ding,
Section 25,
The Five Americans,
AZ,
La Düsseldorf,
CMW,
The Neon Judgement,
Nirvana,
Absolute Body Control,
Prince Buster,
Gil Scott-Heron and Jamie xx,
Cybotron,
Cluster,
Drexciya,
The Dave Clark Five,
Nation of Ulysses,
Roger Hodgson,
Danielle Patucci,
Q65,
Pole,
Pet Shop Boys,
The West Coast Pop Art Experimental Band,
The Kinks,
Chris & Cosey,
Derrick Morgan,
Connie Case, Connie Case, Connie Case, Connie Case.
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.