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 Zimbabwe and from Halifax.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Edmonton 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 theremin sounds with much patience.
I was there when Lou Reed 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 Howard Jones to the grime kids.
I played it at the Spitz.
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 Franke. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every The Seeds 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Bizarre Inc.,
Ultimate Spinach,
David Axelrod,
Sight & Sound,
John Coltrane,
The Real Kids,
Ultra Naté,
Arab on Radar,
Barry Ungar,
Flash Fearless,
Ludus,
Marshall Jefferson,
Oppenheimer Analysis,
Cecil Taylor,
The Monks,
Rowland S Howard / Lydia Lunch,
London Community Gospel Choir,
Ornette Coleman,
Tears for Fears,
Freddie Wadling,
JFA,
D'Angelo,
Todd Terry,
The Saints,
Gerry Rafferty,
Tres Demented,
Kool Moe Dee,
Surgeon,
Gastr Del Sol,
Mars,
The Shadows of Knight,
Blake Baxter,
Nirvana,
Gabor Szabo,
Pere Ubu,
Susan Cadogan,
Kas Product,
Mission of Burma,
Ralphi Rosario,
Minor Threat,
Notorious Big And Bone Thugs,
Hoover,
Sun Ra,
Brothers Johnson,
The Beau Brummels,
Teenage Jesus and the Jerks,
Mo-Dettes,
Eyeless In Gaza,
The Mummies,
The Music Machine,
Andrew Hill,
The Invisible,
Donny Hathaway,
The United States of America,
the Germs,
James White and The Blacks,
PIL,
Fatback Band,
Absolute Body Control,
Minnie Riperton,
China Crisis, China Crisis, China Crisis, China Crisis.
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.