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 Monaco and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Lagos 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 snare sounds with much patience.
I was there when Michael McDonald 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 Yusef Lateef 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 Arthur Verocai. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Pierre Henry 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 '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Fluxion,
Andrew Ashong & Theo Parrish,
Alice Coltrane,
The Evens,
Slick Rick,
Gil Scott Heron,
Arab on Radar,
Porter Ricks,
The Grass Roots,
Pet Shop Boys,
Terry Callier,
Clear Light,
The Pretty Things,
Groovy Waters,
The J.B.'s,
Darondo,
Warsaw,
James White and The Blacks,
The Doobie Brothers,
Moebius,
The Seeds,
Iggy Pop,
Los Fastidios,
Q and Not U,
Liaisons Dangereuses,
Letta Mbulu,
These Immortal Souls,
Jesper Dahlbäck,
Dead Boys,
Wings,
The Chocolate Watch Band,
Röyhkä ja Rättö ja Lehtisalo,
Amon Düül II,
Echo & the Bunnymen,
Junior Murvin,
Wolf Eyes,
Cameo,
Mars,
Wasted Youth,
Nick Cave & The Bad Seeds,
The Star Department,
Hoover,
Gichy Dan,
Black Sheep,
Kayak,
Aural Exciters,
The Standells,
Jacques Brel,
The Index,
Hot Snakes,
Main Source,
The Toasters,
Major Organ And The Adding Machine,
Intrusion,
Depeche Mode,
Reuben Wilson,
Neil Young & Crazy Horse,
The Jesus and Mary Chain,
The Stooges,
Minutemen,
Grandmaster Flash and the Furious Five,
Tubeway Army,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.