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 Senegal and from Columbus.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Toronto.
I'm losing my edge to the art-school Delhi 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 arpeggiator 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 Arab on Radar to the disco kids.
I played it at Cafe Wha.
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 Bobbi Humphrey. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Arcadia 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Ossler,
Pulsallama,
Ultimate Spinach,
Rekid,
Josef K,
Blake Baxter,
The Stooges,
Make Up,
Banda Bassotti,
Soulsonic Force,
Pagans,
Toni Rubio,
The Gun Club,
Major Organ And The Adding Machine,
Simply Red,
China Crisis,
The Slackers,
Minutemen,
Grauzone,
Howard Jones,
AZ,
Cal Tjader,
DeepChord presents Echospace,
Mary Jane Girls,
David Axelrod,
Janne Schatter,
LL Cool J,
Can,
Agitation Free,
Ralphi Rosario,
Lou Reed & Metallica,
EPMD,
Warren Ellis,
Schoolly D,
Avey Tare & Kría Brekkan,
The Last Poets,
Quadrant,
Lou Reed & John Cale,
kango's stein massive,
Cameo,
Barry Ungar,
Super Lover Cee & Casanova Rud,
Andrew Hill,
Rod Modell,
The Doobie Brothers,
John Coltrane,
Pantaleimon,
Matthew Bourne,
Bill Wells,
Buzzcocks,
Jeff Lynne,
La Düsseldorf,
JFA,
Arthur Verocai,
Bauhaus,
FM Einheit,
Piero Umiliani,
Sixth Finger,
Aaron Thompson,
Soft Cell,
Nick Cave & The Bad Seeds,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.