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 Senegal and from Houston.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Pierre Henry 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 Yazoo. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
The Music Machine,
Fat Boys,
Motorama,
Eddi Front,
The Mummies,
Vladislav Delay,
London Community Gospel Choir,
EPMD,
Reuben Wilson,
Pole,
Masters at Work,
Country Joe & The Fish,
Animal Collective,
The Blackbyrds,
Maurizio,
Throbbing Gristle,
Derrick Morgan,
Andrew Ashong & Theo Parrish,
Stereo Dub,
Robert Hood,
Essential Logic,
The Gories,
Camberwell Now,
Livin' Joy,
Grauzone,
Sunsets and Hearts,
Byron Stingily,
Chrome,
Crispy Ambulance,
Angels of Light & Akron/Family,
Lindisfarne,
Sixth Finger,
Jeff Lynne,
Smog,
Quando Quango,
Eurythmics,
Pere Ubu,
Model 500,
Talk Talk,
Hoover,
Isaac Hayes,
The Velvet Underground,
Index,
Popol Vuh,
Ken Boothe,
Jimmy McGriff,
Flipper,
Kas Product,
Chris Corsano,
Inner City,
Big Daddy Kane,
Scan 7,
Lebanon Hanover,
Mars,
Theoretical Girls,
The Motions,
Chris & Cosey,
Godley & Creme,
Kurtis Blow,
Wings,
The Fuzztones,
Bill Near, Bill Near, Bill Near, Bill Near.
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.