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 Latvia and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Masters at Work to the funk kids.
I played it at CBGB's.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
The Fire Engines,
Basic Channel,
Panda Bear,
Lyres,
The Index,
Tom Boy,
D'Angelo,
Kayak,
Electric Light Orchestra,
Marshall Jefferson,
Deepchord,
Buzzcocks,
X-102,
The Star Department,
Grandmaster Flash,
Nick Cave & The Bad Seeds,
Throbbing Gristle,
The Flesh Eaters,
Rites of Spring,
Skriet,
The Doors,
Monks,
Erasure,
Gil Scott Heron,
Stetsasonic,
Gang of Four,
The Gap Band,
June Days,
Malaria!,
Main Source,
Supertramp,
Gichy Dan,
Wighnomy Brothers & Robag Wruhme,
Joe Smooth,
Pole,
cv313,
De La Soul & Jungle Brothers,
Babytalk,
Lou Christie,
Louis and Bebe Barron,
Pagans,
Anthony Braxton,
Ice-T,
New Age Steppers,
The Gladiators,
Bobby Womack,
Janne Schatter,
The Cosmic Jokers,
Porter Ricks,
The Sisters of Mercy,
DNA,
The Angels of Light,
The Men They Couldn't Hang,
Be Bop Deluxe,
Matthew Bourne,
Arab on Radar,
Boogie Down Productions,
Reuben Wilson,
Tubeway Army,
The Searchers, The Searchers, The Searchers, The Searchers.
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.