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 San Marino and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Cairo.
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 clarinet 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 Art Ensemble Of Chicago to the disco kids.
I played it at the Crocodile.
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 the Slits. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Buzzcocks,
Lightning Bolt,
The Busters,
Chris Corsano,
Althea and Donna,
David McCallum,
Camouflage,
Moby Grape,
The Knickerbockers,
Con Funk Shun,
Popol Vuh,
Mars,
A Flock of Seagulls,
the Fania All-Stars,
Jeru the Damaja,
Roy Ayers,
The Detroit Cobras,
H. Thieme,
Sun Ra,
Freddie Wadling,
Godley & Creme,
Minny Pops,
Gang Starr,
Hashim,
The Trojans,
Bill Wells,
Theoretical Girls,
Pierre Henry,
Model 500,
Pantaleimon,
Fluxion,
Joey Negro,
X-Ray Spex,
Gabor Szabo,
Zero Boys,
Mantronix,
Fela Kuti,
Fugazi,
Marc Almond,
Pharaoh Sanders and the Fire Engines,
Pharoah Sanders,
Negative Approach,
DJ Style,
Matthew Bourne,
Kauko Röyhkä ja Narttu,
Rhythm & Sound,
Matthew Halsall,
Sunsets and Hearts,
The Selecter,
Harmonia,
Rakim,
The Star Department,
Talk Talk,
Grandmaster Flash and the Furious Five,
Electric Prunes,
Iggy Pop,
Flash Fearless,
K-Klass,
Selector Dub Narcotic,
Parry Music,
It's A Beautiful Day,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.