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 Greece and from Accra.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Glasgow 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Lalo Schifrin to the techno 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 Pete Rock & C.L. Smooth. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Young Marble Giants 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Thee Headcoats,
Siouxsie and the Banshees,
Kool G Rap & DJ Polo,
Desert Stars,
Cybotron,
Rites of Spring,
Scratch Acid,
the Fania All-Stars,
The Velvet Underground,
KRS-One,
Byron Stingily,
The Cramps,
Gerry Rafferty,
Al Stewart,
Sister Nancy,
Pylon,
The United States of America,
The Pretty Things,
Massinfluence,
Can,
The Cure,
PIL,
Stiv Bators,
Jacob Miller,
Chris & Cosey,
Barclay James Harvest,
The Chocolate Watch Band,
Kayak,
The Neon Judgement,
Eurythmics,
Ken Boothe,
Absolute Body Control,
The Monks,
Spandau Ballet,
Lower 48,
One Last Wish,
Derrick Morgan,
Flipper,
Japan,
Oppenheimer Analysis,
Model 500,
Agent Orange,
Reagan Youth,
Hasil Adkins,
Ituana,
Soft Cell,
Barbara Tucker,
Pulsallama,
Marine Girls,
Pantytec,
Franke,
Grey Daturas,
Gastr Del Sol,
Peter Gordon & Love of Life Orchestra,
John Cale,
Sparks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
Loose Ends,
CMW,
Symarip, Symarip, Symarip, Symarip.
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.