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 Andorra and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1976.
I'm losing my edge.
To all the kids in Lyon and Manila.
I'm losing my edge to the art-school Edmonton 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Stetsasonic to the rock kids.
I played it at Cafe Wha.
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 Oblivians. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Strawberry Alarm Clock,
Avey Tare,
Accadde A,
Skarface,
Ken Boothe,
Eyeless In Gaza,
Cabaret Voltaire,
Marcia Griffiths,
Talk Talk,
Absolute Body Control,
Lou Reed,
David McCallum,
Bobby Byrd,
Lebanon Hanover,
The Saints,
The Tremeloes,
Minnie Riperton,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joe Smooth,
Mo-Dettes,
Inner City,
a-ha,
Dark Day,
48th St. Collective,
Jeff Lynne,
Urselle,
June Days,
Angry Samoans,
Kango’s Stein Massive,
Stockholm Monsters,
Arcadia,
Marshall Jefferson,
Glambeats Corp.,
kango's stein massive,
Flash Fearless,
Excepter,
The Durutti Column,
R.M.O.,
Aaron Thompson,
Sarah Menescal,
The Human League,
Rotary Connection,
The Red Krayola,
Nation of Ulysses,
Lucky Dragons,
Judy Mowatt,
Laurel Aitken,
A Flock of Seagulls,
Dr. Dre and Snoop Doggy Dog,
Bill Wells,
Tom Boy,
Gil Scott Heron,
Sly & The Family Stone,
Radio Birdman,
The New Christs,
New York Dolls,
Quando Quango,
Tropical Tobacco,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.