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 Venezuela and from London.
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 1978.
I'm losing my edge.
To all the kids in Paris and Paris.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Interpol to the disco 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 Pere Ubu. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Max Romeo,
Masters at Work,
The Dead C,
Mr. Review,
Make Up,
Kerrie Biddell,
Glambeats Corp.,
The Young Rascals,
Rotary Connection,
Heavy D & The Boyz,
Qualms,
Negative Approach,
The Mojo Men,
Nils Olav,
Visage,
Jandek,
Robert Görl,
B.T. Express,
Chris & Cosey,
Mad Mike,
Man Eating Sloth,
Simply Red,
Rapeman,
Audionom,
The Martian,
Neu!,
Connie Case,
Von Mondo,
Robert Wyatt,
Fatback Band,
Rowland S Howard / Lydia Lunch,
D'Angelo,
Intrusion,
Chris Corsano,
Matthew Halsall,
R.M.O.,
Aural Exciters,
Rhythm & Sound,
Anthony Braxton,
Magma,
Main Source,
Derrick Morgan,
Alison Limerick,
Shuggie Otis,
Lalann,
The Happenings,
Cymande,
Darondo,
Isaac Hayes,
The Mighty Diamonds,
Dave Gahan,
Ice-T,
The Trojans,
Jacques Brel,
The Barracudas,
Marine Girls,
the Bar-Kays,
Schoolly D,
Moby Grape,
Sound Behaviour,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.