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 New Zealand 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 1965 to 1973.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Lagos 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 linndrum 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 Sexual Harrassment to the rap 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 Johnny Osbourne. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Robert Hood,
Matthew Halsall,
Bobbi Humphrey,
Ultra Naté,
Gregory Isaacs,
The Monochrome Set,
Heaven 17,
Nas,
Rites of Spring,
Blake Baxter,
Barrington Levy,
Harpers Bizarre,
Gabor Szabo,
Agent Orange,
Youth Brigade,
OOIOO,
Rapeman,
the Association,
Agitation Free,
Max Romeo,
Peter and Kerry,
Babytalk,
Roger Hodgson,
Josef K,
Anakelly,
Little Man,
Kenny Larkin,
FM Einheit,
The Techniques,
Leonard Cohen,
The Modern Lovers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Drexciya,
China Crisis,
Interpol,
Marcia Griffiths,
Althea and Donna,
Kas Product,
The Fire Engines,
Cabaret Voltaire,
John Coltrane,
The Neon Judgement,
Donald Byrd,
H. Thieme,
The Men They Couldn't Hang,
Brick,
Be Bop Deluxe,
The Stooges,
John Lydon,
Loose Ends,
The Index,
Gian Franco Pienzio,
Bob Dylan,
Funkadelic,
Outsiders,
Saccharine Trust,
Eurythmics,
Tomorrow,
the Normal,
Sam Rivers,
Stetsasonic,
Ludus, Ludus, Ludus, Ludus.
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.