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 Hungary and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1972.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Bush Tetras to the punk kids.
I played it at Trash.
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 Sister Nancy. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every The Electric Prunes 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar 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 arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Porter Ricks,
Simply Red,
John Lydon,
Accadde A,
Tommy Roe,
The Moleskins,
The United States of America,
Gregory Isaacs,
Skriet,
Bauhaus,
Urselle,
X-102,
Major Organ And The Adding Machine,
Howard Jones,
Gabor Szabo,
Bobby Sherman,
Sly & The Family Stone,
Gian Franco Pienzio,
Scan 7,
48th St. Collective,
The Human League,
Marine Girls,
Minnie Riperton,
Camberwell Now,
Electric Prunes,
The Beau Brummels,
Von Mondo,
The Saints,
Ralphi Rosario,
Alice Coltrane,
Matthew Bourne,
Lakeside,
Hashim,
Be Bop Deluxe,
Mr. Review,
Wire,
Main Source,
Yusef Lateef,
The Move,
Dual Sessions,
Panda Bear,
Pylon,
Marc Almond,
Lou Reed & Metallica,
The Golliwogs,
The Associates,
The Toasters,
Ten City,
Pulsallama,
Eddi Front,
Fad Gadget,
Cal Tjader,
Can,
The Barracudas,
Albert Ayler,
Symarip,
Steve Hackett,
Pet Shop Boys,
Ossler,
The Royal Family And The Poor,
Rakim, Rakim, Rakim, Rakim.
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.