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 Tonga and from Milan.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1976.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Glasgow 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 theremin 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 The Cowsills to the dance 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 Lee Hazlewood. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
London Community Gospel Choir,
Kango’s Stein Massive,
Hashim,
The Flesh Eaters,
John Foxx,
The Blackbyrds,
Rhythm & Sound,
Notorious BIG live in Amsterdam,
In Retrospect,
Mr. Review,
Soulsonic Force,
Organ,
Jeff Lynne,
Art Ensemble Of Chicago,
Con Funk Shun,
Traffic Nightmare,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Leonard Cohen,
the Soft Cell,
Flipper,
Simply Red,
Vaughan Mason & Crew,
Roger Hodgson,
The Dirtbombs,
Rufus Thomas,
The Fortunes,
The Fugs,
10cc,
Sly & The Family Stone,
The West Coast Pop Art Experimental Band,
Darondo,
Pierre Henry,
Alison Limerick,
Charles Mingus,
Interpol,
Crooked Eye,
Soul Sonic Force,
Rapeman,
Kerrie Biddell,
Porter Ricks,
Skriet,
Blake Baxter,
ABBA,
Pet Shop Boys,
Mark Hollis,
Reagan Youth,
Half Japanese,
Section 25,
Alton Ellis,
Procol Harum,
Fluxion,
Hardrive,
Faraquet,
Eddi Front,
Albert Ayler,
Bizarre Inc.,
Marine Girls,
Radiohead,
The Tremeloes,
Black Sheep,
Panda Bear,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.