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 Denmark and from Sao Paulo.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Houston 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord 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 Heaven 17 to the rock kids.
I played it at the Crocodile.
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 Lonnie Liston Smith. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joy Division,
Beasts of Bourbon,
Deakin,
Matthew Halsall,
Morten Harket,
Duran Duran,
Gabor Szabo,
Maleditus Sound,
Radio Birdman,
Avey Tare & Kría Brekkan,
One Last Wish,
Blancmange,
Unrelated Segments,
Kenny Larkin,
Graham Central Station,
Derrick May,
the Sonics,
Mary Jane Girls,
FM Einheit,
Zero Boys,
Johnny Osbourne,
Andrew Hill,
Pet Shop Boys,
Nik Kershaw,
The Sound,
Jesper Dahlbäck,
Rites of Spring,
Andrew Ashong & Theo Parrish,
a-ha,
Bronski Beat,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rosa Yemen,
Moss Icon,
Tres Demented,
Lou Reed,
Quantec,
Crash Course in Science,
Swell Maps,
John Foxx,
Agitation Free,
Cabaret Voltaire,
Robert Görl,
Clear Light,
Banda Bassotti,
James Chance & The Contortions,
Eurythmics,
Schoolly D,
DJ Sneak,
Mandrill,
Echospace,
Eyeless In Gaza,
The Smoke,
Mr. Review,
Crime,
Soul II Soul,
Buzzcocks,
Althea and Donna,
Boogie Down Productions,
The Fuzztones,
Blossom Toes,
The Birthday Party,
Excepter,
Bobby Hutcherson,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.