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 South Sudan and from Sao Paulo.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Gabor Szabo to the rap kids.
I played it at the Astoria.
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 A Certain Ratio. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal disco 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
The Martian,
Ronnie Foster,
Basic Channel,
The Blackbyrds,
The Happenings,
Minny Pops,
Nas,
X-101,
Marvin Gaye,
the Soft Cell,
Funky Four + One,
Kool Moe Dee,
Danielle Patucci,
Derrick May,
Gil Scott-Heron and Jamie xx,
Chris Corsano,
Drexciya,
Echospace,
The Doobie Brothers,
Leonard Cohen,
Liliput,
Matthew Halsall,
Boz Scaggs,
Glenn Branca,
Flipper,
Letta Mbulu,
Bizarre Inc.,
The Pretty Things,
Ludus,
The Searchers,
Rhythm & Sound,
Malaria!,
Ash Ra Tempel,
Major Organ And The Adding Machine,
Glambeats Corp.,
Deadbeat,
The Detroit Cobras,
Liaisons Dangereuses,
Nik Kershaw,
Anakelly,
E-Dancer,
A Flock of Seagulls,
Barrington Levy,
Jerry Gold Smith,
Sexual Harrassment,
Jeff Lynne,
Brick,
Scrapy,
Terrestrial Tones,
EPMD,
Kas Product,
The Fire Engines,
The Durutti Column,
Throbbing Gristle,
Yusef Lateef,
Todd Terry,
Ultramagnetic MC's,
Swell Maps,
The Cosmic Jokers,
Sticky Fingaz feat. Raekwon,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.