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 Poland and from Accra.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Mumbai 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 Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 ABC to the crunk 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 Kool Moe Dee. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every The Golliwogs 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Glambeats Corp.,
Royal Trux,
Pere Ubu,
Johnny Osbourne,
The Buckinghams,
Lower 48,
Banda Bassotti,
Matthew Bourne,
Goldenarms,
Parry Music,
Fad Gadget,
Fela Kuti,
Scan 7,
Mo-Dettes,
The Neon Judgement,
The Barracudas,
Lizzy Mercier Descloux,
Sarah Menescal,
London Community Gospel Choir,
Sun Ra Arkestra,
a-ha,
Grauzone,
These Immortal Souls,
The Royal Family And The Poor,
Sam Rivers,
Ossler,
Maurizio,
Cabaret Voltaire,
Symarip,
ABBA,
D'Angelo,
Brothers Johnson,
Barrington Levy,
June Days,
Letta Mbulu,
Ohio Players,
The Dead C,
Heaven 17,
Clear Light,
Barclay James Harvest,
Rhythm & Sound,
Gregory Isaacs,
Gang Starr,
Deadbeat,
Andrew Ashong & Theo Parrish,
Jerry's Kids,
Pole,
Dennis Brown,
Maleditus Sound,
The Wake,
Henry Cow,
Mars,
Fear,
Deutsch Amerikanische Freundschaft,
Smog,
Tears for Fears,
Scratch Acid,
Black Pus,
X-Ray Spex,
Cameo,
Crash Course in Science,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.