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 Korea North and from Stockholm.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Manila 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 Lakeside to the jazz 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 Qualms. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Lyres 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Mantronix,
Bad Manners,
Slick Rick,
48th St. Collective,
Rosa Yemen,
Lonnie Liston Smith,
The West Coast Pop Art Experimental Band,
Lee Hazlewood,
Ken Boothe,
10cc,
Smog,
Babytalk,
James White and The Blacks,
Model 500,
Banda Bassotti,
The Mummies,
Bizarre Inc.,
Sun Ra Arkestra,
the Fania All-Stars,
Erasure,
Albert Ayler,
Clear Light,
Michelle Simonal,
Country Teasers,
F. McDonald,
Sandy B,
Harry Pussy,
Sparks,
Röyhkä ja Rättö ja Lehtisalo,
Bill Wells,
The Music Machine,
The Young Rascals,
Young Marble Giants,
Vladislav Delay,
Hashim,
Oppenheimer Analysis,
Monks,
The Smoke,
Tomorrow,
Unrelated Segments,
Ronan,
Arthur Verocai,
The Victims,
Y Pants,
Deadbeat,
FM Einheit,
Intrusion,
Vainqueur,
Connie Case,
Captain Beefheart & His Magic Band,
cv313,
Soft Cell,
Suburban Knight,
Kool G Rap & DJ Polo,
Au Pairs,
These Immortal Souls,
Deepchord,
Sonic Youth,
Fela Kuti,
Be Bop Deluxe,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.