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 Liberia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1976.
I'm losing my edge.
To all the kids in Toronto and Paris.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Brothers Johnson to the rock kids.
I played it at the 40 Watt.
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 Peter and Kerry. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
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 Rhythim Is Rhythim record.
I hear that you and your band have sold your güiro and bought a snare.
I hear that you and your band have sold your snare and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Gil Scott-Heron and Jamie xx,
Suburban Knight,
The Young Rascals,
Altered Images,
Country Teasers,
Kaleidoscope,
Erasure,
Sun Ra Arkestra,
Hashim,
Deakin,
John Holt,
Lee Hazlewood,
John Cale,
The Gap Band,
The Slackers,
Gian Franco Pienzio,
Buzzcocks,
Visage,
Camberwell Now,
Agitation Free,
Swans,
Essential Logic,
Malaria!,
One Last Wish,
Niagra,
Nik Kershaw,
Brand Nubian,
The Moleskins,
Hoover,
Oblivians,
The Last Poets,
Gary Puckett & The Union Gap,
Glambeats Corp.,
DJ Sneak,
Slave,
Pylon,
Art Ensemble Of Chicago,
Quando Quango,
Lizzy Mercier Descloux,
Pet Shop Boys,
Joensuu 1685,
Television,
Skarface,
Connie Case,
Urselle,
Pharoah Sanders,
Scratch Acid,
New Order,
Ultramagnetic MC's,
Derrick Morgan,
Roy Ayers Ubiquity,
Electric Light Orchestra,
Kevin Saunderson,
The Shadows of Knight,
Babytalk,
Barclay James Harvest,
Simply Red,
Icehouse,
Agent Orange,
Scientists, Scientists, Scientists, Scientists.
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.