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 Denmark and from Bologna.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Tehran 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Crime to the jazz 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 Clear Light. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Masters at Work 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Fluxion,
Warren Ellis,
DJ Sneak,
Sandy B,
Hashim,
Bill Near,
Electric Prunes,
Strawberry Alarm Clock,
Gil Scott Heron,
Ornette Coleman,
Red Lorry Yellow Lorry,
Public Enemy,
Godley & Creme,
Loose Ends,
Justin Hinds & The Dominoes,
Flash Fearless,
Tubeway Army,
Lebanon Hanover,
Ken Boothe,
Minnie Riperton,
Reuben Wilson,
Tres Demented,
X-101,
Gang Starr,
Black Pus,
Bootsy's Rubber Band,
David Axelrod,
Lalo Schifrin,
Michelle Simonal,
The Black Dice,
Captain Beefheart & His Magic Band,
Slick Rick,
The Smiths,
Mary Jane Girls,
Pantytec,
The Kinks,
Ossler,
The Flesh Eaters,
Brick,
Ponytail,
E-Dancer,
Radiopuhelimet,
Easy Going,
Wings,
Rhythm & Sound,
Alice Coltrane,
Sexual Harrassment,
Harry Pussy,
Fifty Foot Hose,
Sixth Finger,
Throbbing Gristle,
Lower 48,
Subhumans,
H. Thieme,
Moby Grape,
Quando Quango,
David McCallum,
Dual Sessions,
Stockholm Monsters,
Cymande,
The Mojo Men,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.