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 Syria and from Mexico City.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school New York 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 1976 at the first Chic practice in a loft in New York.
I was working on the theremin 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 Joe Smooth to the grime 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 Laurel Aitken. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Junior Murvin 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Lebanon Hanover,
The Monochrome Set,
Amazonics,
Jesper Dahlbäck,
Subhumans,
The Birthday Party,
Von Mondo,
Connie Case,
Ultra Naté,
OOIOO,
Ice-T,
LL Cool J,
Second Layer,
Youth Brigade,
Stereo Dub,
Lightning Bolt,
Echo & the Bunnymen,
Crime,
Sexual Harrassment,
The Mummies,
Neu!,
Graham Central Station,
Sparks,
E-Dancer,
Ossler,
Wasted Youth,
Dorothy Ashby,
Bluetip,
Alice Coltrane,
Red Lorry Yellow Lorry,
Black Sheep,
Blancmange,
The Modern Lovers,
Bill Wells,
Mission of Burma,
The West Coast Pop Art Experimental Band,
Louis and Bebe Barron,
Gastr Del Sol,
Grandmaster Flash,
Basic Channel,
Shuggie Otis,
Radiohead,
the Association,
DJ Style,
Quantec,
Grauzone,
Slave,
Lonnie Liston Smith,
Kaleidoscope,
Kool G Rap & DJ Polo,
Wally Richardson,
Bill Near,
JFA,
Girls At Our Best!,
Radio Birdman,
Iggy Pop,
The Golliwogs,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.