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 Singapore and from Columbus.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Portland.
I'm losing my edge to the art-school Seoul 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 808 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 ABBA to the grime kids.
I played it at the Hacienda.
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 Leonard Cohen. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Red Lorry Yellow Lorry,
Maleditus Sound,
Dennis Brown,
Heaven 17,
Brand Nubian,
Lyres,
Japan,
Letta Mbulu,
The Cowsills,
Lebanon Hanover,
Dark Day,
The Wake,
Marine Girls,
Sällskapet,
Roy Ayers,
Traffic Nightmare,
Avey Tare,
The Golliwogs,
Sight & Sound,
Peter & Gordon,
Adolescents,
Q and Not U,
Moebius,
Derrick Morgan,
Procol Harum,
The American Breed,
Eyeless In Gaza,
John Coltrane,
These Immortal Souls,
The Mojo Men,
Roxette,
Radiohead,
Orchestral Manoeuvres in the Dark,
Gastr Del Sol,
The Music Machine,
Parry Music,
Silicon Teens,
Gang Green,
Al Stewart,
Smog,
Zapp,
Althea and Donna,
Urselle,
The Fortunes,
Deakin,
The Human League,
PIL,
Lower 48,
The Knickerbockers,
Radio Birdman,
10cc,
The Fall,
Peter Gordon & Love of Life Orchestra,
Rufus Thomas,
Nirvana,
Major Organ And The Adding Machine,
Jesper Dahlbäck,
Godley & Creme,
Sarah Menescal,
John Foxx,
Public Image Ltd.,
James Chance & The Contortions,
Flipper, Flipper, Flipper, Flipper.
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.