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 El Salvador and from Hong Kong.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 The Victims to the jazz 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 Moss Icon. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Morten Harket 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a spring reverb 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 clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Red Lorry Yellow Lorry,
Metal Thangz,
Scrapy,
JFA,
Neu!,
John Cale,
Camberwell Now,
Thompson Twins,
Dead Boys,
Can,
Little Man,
Newcleus,
Wolf Eyes,
A Certain Ratio,
Kurtis Blow,
The Sisters of Mercy,
Lou Reed & John Cale,
Ice-T,
The Gladiators,
Malaria!,
Scion,
Sun Ra,
Electric Light Orchestra,
The Detroit Cobras,
Angry Samoans,
Jandek,
The Moody Blues,
Carl Craig,
The Searchers,
Sound Behaviour,
Danielle Patucci,
Absolute Body Control,
The Count Five,
Röyhkä ja Rättö ja Lehtisalo,
Skaos,
Technova,
Pet Shop Boys,
Motorama,
Franke,
The Gap Band,
Girls At Our Best!,
Roger Hodgson,
The Motions,
Cecil Taylor,
Maleditus Sound,
Blancmange,
The United States of America,
Grauzone,
Sticky Fingaz feat. Raekwon,
Buzzcocks,
Gang Starr,
Sarah Menescal,
Barry Ungar,
Cybotron,
Warsaw,
8 Eyed Spy,
Moebius,
Shuggie Otis,
Mission of Burma,
The Men They Couldn't Hang,
Soft Cell,
The Smiths, The Smiths, The Smiths, The Smiths.
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.