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 Sweden and from Stockholm.
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 1977.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Manchester 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 Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 The Martian to the grime 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 The United States of America. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Minny Pops 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Pharaoh Sanders and the Fire Engines,
The Royal Family And The Poor,
Cabaret Voltaire,
Curtis Mayfield,
Ajijia Myrayebe,
Lower 48,
Agent Orange,
Sly & The Family Stone,
Parry Music,
The Busters,
Suicide,
Gil Scott Heron,
Can,
Tres Demented,
Brand Nubian,
Trumans Water,
Massinfluence,
The Leaves,
Los Fastidios,
John Lydon,
Bill Near,
Quantec,
Gang of Four,
Mantronix,
Sister Nancy,
Main Source,
Bad Manners,
Negative Approach,
Barrington Levy,
A Certain Ratio,
Avey Tare & Kría Brekkan,
LL Cool J,
Second Layer,
Gregory Isaacs,
DJ Style,
Liaisons Dangereuses,
Bob Dylan,
Bobby Hutcherson,
Gong,
Half Japanese,
Soft Machine,
Soul II Soul,
Arthur Verocai,
Peter and Kerry,
Scan 7,
Flash Fearless,
the Association,
The Misunderstood,
Severed Heads,
Johnny Clarke,
Cluster,
Subhumans,
Davy DMX,
Throbbing Gristle,
Beasts of Bourbon,
Larry & the Blue Notes,
Mo-Dettes,
Young Marble Giants,
Mission of Burma,
Max Romeo,
Tim Buckley,
Sonny Sharrock,
Arcadia, Arcadia, Arcadia, Arcadia.
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.