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 Tunisia and from Salvador.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Manchester and Houston.
I'm losing my edge to the art-school Calgary 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 linndrum sounds with much patience.
I was there when David Bowie 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 Joyce Sims to the techno kids.
I played it at the 40 Watt.
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 Barry Ungar. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Janne Schatter,
Sparks,
Talk Talk,
John Coltrane,
Scion,
Brand Nubian,
Curtis Mayfield,
The Move,
Big Daddy Kane,
Erasure,
Kerrie Biddell,
In Retrospect,
The Men They Couldn't Hang,
The Doors,
Rod Modell,
The Peanut Butter Conspiracy,
Ossler,
Notorious Big And Bone Thugs,
Rufus Thomas,
The Stooges,
Boz Scaggs,
Orchestral Manoeuvres in the Dark,
The Leaves,
Michelle Simonal,
The Star Department,
Los Fastidios,
Brick,
Sixth Finger,
Deadbeat,
Sight & Sound,
Yusef Lateef,
Nirvana,
Joe Smooth,
Gil Scott Heron,
Ken Boothe,
Suicide,
Lou Reed,
Amon Düül,
Sam Rivers,
Interpol,
Archie Shepp,
Supertramp,
Beasts of Bourbon,
Deepchord,
Dark Day,
Bobby Hutcherson,
K-Klass,
The Slackers,
Wighnomy Brothers & Robag Wruhme,
Grandmaster Flash and the Furious Five,
Underground Resistance,
Reuben Wilson,
Barbara Tucker,
Index,
Severed Heads,
Flash Fearless,
Alison Limerick,
Little Man,
The Real Kids,
Basic Channel,
Guru Guru,
Lalann,
Heaven 17,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.