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 Nicaragua and from Edmonton.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Stockholm 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Trumans Water to the rock kids.
I played it at Trash.
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 Scion. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Ohio Players,
Althea and Donna,
Minnie Riperton,
Johnny Osbourne,
Severed Heads,
Fort Wilson Riot,
Ultramagnetic MC's,
Man Parrish,
Gang Gang Dance,
This Heat,
Lalann,
Trumans Water,
Monks,
Bootsy's Rubber Band,
Mary Jane Girls,
Lakeside,
James Chance & The Contortions,
Lucky Dragons,
Goldenarms,
Arcadia,
Outsiders,
Jesper Dahlbäck,
Ronnie Foster,
The Doobie Brothers,
Grandmaster Flash,
Peter and Kerry,
Sad Lovers and Giants,
CMW,
Eyeless In Gaza,
The Moleskins,
Yellowson,
The Offenders,
D'Angelo,
Charles Mingus,
Simply Red,
Brothers Johnson,
Symarip,
Delon & Dalcan,
Blossom Toes,
Andrew Ashong & Theo Parrish,
Spoonie Gee,
Howard Jones,
The Divine Comedy,
Infiniti,
Aswad,
The Index,
Can,
Kool G Rap & DJ Polo,
Soft Cell,
The Trojans,
Marc Romboy vs. Booka Shade,
Byron Stingily,
Matthew Halsall,
Pierre Henry,
The Dead C,
Ludus,
Graham Central Station,
Johnny Clarke,
Sparks, Sparks, Sparks, Sparks.
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.