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 Dominican Republic and from Paris.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Copenhagen 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 Captain Beefheart 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 Marine Girls to the jazz 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 Steve Hackett. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Johnny Clarke 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
London Community Gospel Choir,
The United States of America,
Kerrie Biddell,
Magma,
Bobby Womack,
OOIOO,
The Fall,
Ice-T,
Dual Sessions,
Grey Daturas,
Todd Terry,
Thompson Twins,
The Gun Club,
Orchestral Manoeuvres in the Dark,
Spandau Ballet,
The Techniques,
Janne Schatter,
Fort Wilson Riot,
Eyeless In Gaza,
Flamin' Groovies,
DJ Sneak,
Peter and Kerry,
Oneida,
The Human League,
Massinfluence,
Lonnie Liston Smith,
The Monochrome Set,
Idris Muhammad,
Connie Case,
Radiopuhelimet,
Dark Day,
Hoover,
The Misunderstood,
Frankie Knuckles,
Avey Tare's Slasher Flicks,
Sex Pistols,
Outsiders,
Bluetip,
Nils Olav,
The Smoke,
Clear Light,
The Associates,
The Blackbyrds,
Gang Gang Dance,
Oblivians,
Kaleidoscope,
The Chocolate Watch Band,
Notorious Big And Bone Thugs,
Hashim,
De La Soul & Jungle Brothers,
Lebanon Hanover,
Neil Young & Crazy Horse,
New Order,
John Holt,
Magazine,
Circle Jerks,
Pole,
Organ,
Harpers Bizarre,
Sam Rivers,
Don Cherry,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.