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 Brazil and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Calgary and Cairo.
I'm losing my edge to the art-school Shanghai 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Gang Green to the jazz kids.
I played it at the Hacienda.
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 Dorothy Ashby. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every The Vogues 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 '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Charles Mingus,
The Real Kids,
Albert Ayler,
Pulsallama,
The Golliwogs,
Aswad,
Bizarre Inc.,
Section 25,
Susan Cadogan,
Public Image Ltd.,
Avey Tare's Slasher Flicks,
Jerry's Kids,
Youth Brigade,
Angry Samoans,
Talk Talk,
Masters at Work,
Arab on Radar,
The Smiths,
Magma,
The Associates,
Richard Hell and the Voidoids,
Selector Dub Narcotic,
China Crisis,
The Buckinghams,
Nico,
cv313,
MC5,
Drexciya,
The Chocolate Watch Band,
Red Lorry Yellow Lorry,
Louis and Bebe Barron,
Heavy D & The Boyz,
Teenage Jesus and the Jerks,
The Electric Prunes,
The Pretty Things,
Ohio Players,
The Happenings,
Bobby Hutcherson,
Inner City,
Yellowson,
Flash Fearless,
The Divine Comedy,
Symarip,
Gang Starr,
Nick Fraelich,
Alison Limerick,
Kango’s Stein Massive,
The Gories,
Amon Düül,
Fort Wilson Riot,
Half Japanese,
Motorama,
Scan 7,
The Monks,
10cc,
The Dave Clark Five,
Rosa Yemen,
The United States of America,
Amon Düül II,
Grandmaster Flash and the Furious Five,
Excepter,
Barry Ungar,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.