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 St Kitts & Nevis and from Spokane.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin 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 Soft Machine to the electroclash kids.
I played it at the Roxy.
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 R.M.O.. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal funk 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Mary Jane Girls,
Icehouse,
The Royal Family And The Poor,
Frankie Knuckles,
Dave Gahan,
Hot Snakes,
Skaos,
Jandek,
Ice-T,
Accadde A,
Avey Tare,
The Offenders,
Selector Dub Narcotic,
Kings Of Tomorrow,
Minnie Riperton,
Yusef Lateef,
Stetsasonic,
The Beau Brummels,
Peter Gordon & Love of Life Orchestra,
Cal Tjader,
The Alarm Clocks,
Jerry's Kids,
Kool Moe Dee,
The Barracudas,
Brick,
the Sonics,
The Busters,
Television,
Deakin,
Bootsy's Rubber Band,
Easy Going,
Danielle Patucci,
Steve Hackett,
H. Thieme,
Excepter,
Pet Shop Boys,
Kango’s Stein Massive,
Section 25,
Sister Nancy,
Babytalk,
Matthew Bourne,
Warsaw,
Absolute Body Control,
Joensuu 1685,
The Angels of Light,
Eurythmics,
Faraquet,
Little Man,
The Victims,
Shoche,
Average White Band,
Curtis Mayfield,
Eddi Front,
48th St. Collective,
Ultra Naté,
Hoover,
The Dirtbombs,
Nico,
Young Marble Giants,
The Smoke,
Grandmaster Flash,
Grauzone, Grauzone, Grauzone, Grauzone.
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.