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 Marshall Islands and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 Eric B and Rakim to the grime kids.
I played it at the Roxy.
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 Ossler. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Soul Sonic Force,
Blossom Toes,
Andrew Ashong & Theo Parrish,
Jeff Lynne,
Crash Course in Science,
Bob Dylan,
Marmalade,
Bobby Hutcherson,
Scrapy,
Brick,
Deepchord,
In Retrospect,
Basic Channel,
Robert Wyatt,
Reuben Wilson,
A Certain Ratio,
Pharoah Sanders,
James Chance & The Contortions,
Nils Olav,
Sight & Sound,
Glambeats Corp.,
Mr. Review,
cv313,
David McCallum,
Camouflage,
Brass Construction,
Cheater Slicks,
Reagan Youth,
Cymande,
Pantytec,
Lakeside,
Rod Modell,
Thompson Twins,
Super Lover Cee & Casanova Rud,
Pussy Galore,
Ajijia Myrayebe,
The Detroit Cobras,
Colin Newman,
Vladislav Delay,
The Knickerbockers,
Youth Brigade,
EPMD,
Louis and Bebe Barron,
Erasure,
Althea and Donna,
The Standells,
Jeru the Damaja,
Maurizio,
The Walker Brothers,
Liaisons Dangereuses,
Radiohead,
Japan,
Zero Boys,
Black Pus,
The Monochrome Set,
Lonnie Liston Smith,
June Days,
Groovy Waters,
Tres Demented,
The Durutti Column,
Alison Limerick,
Be Bop Deluxe,
Los Fastidios,
Warsaw, Warsaw, Warsaw, Warsaw.
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.