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 Qatar and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1972.
I'm losing my edge.
To all the kids in Calgary and Madrid.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 Barclay James Harvest to the grime 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 Tomorrow. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Matthew Bourne,
The Chocolate Watch Band,
Jeff Lynne,
the Soft Cell,
Sugar Minott,
Jeru the Damaja,
Niagra,
Rod Modell,
Fear,
Roy Ayers Ubiquity,
The Blues Magoos,
Visionaries,LMNO, T- Love & Iriscience,
Brass Construction,
The Busters,
Cluster,
The Moleskins,
Kenny Larkin,
Half Japanese,
X-102,
Flash Fearless,
Kerri Chandler,
The Last Poets,
Andrew Ashong & Theo Parrish,
Lou Reed & Metallica,
LL Cool J,
Steve Hackett,
Blancmange,
The Knickerbockers,
The Slits,
Larry & the Blue Notes,
The Residents,
Marine Girls,
Amon Düül,
Spandau Ballet,
Jerry Gold Smith,
The Sound,
Spoonie Gee,
Bang on a Can All-Stars,
Scrapy,
Adolescents,
Brand Nubian,
Lebanon Hanover,
Silicon Teens,
The Techniques,
the Association,
Dark Day,
La Düsseldorf,
Suburban Knight,
The Durutti Column,
Crispian St. Peters,
Outsiders,
Essential Logic,
Arthur Verocai,
X-101,
Idris Muhammad,
Procol Harum,
Yazoo,
The Fire Engines,
Black Flag,
Depeche Mode,
Wighnomy Brothers & Robag Wruhme,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.