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 Burkina and from New York.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1977.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Edmonton 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Pierre Henry to the funk kids.
I played it at CBGB's.
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 The Move. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal disco 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
E-Dancer,
Monks,
Stockholm Monsters,
Henry Cow,
Moebius,
Letta Mbulu,
Los Fastidios,
Neil Young,
Bootsy Collins,
Drexciya,
The Monochrome Set,
The Index,
Peter Gordon & Love of Life Orchestra,
The Pretty Things,
Amazonics,
Echo & the Bunnymen,
T. Rex,
H. Thieme,
Lindisfarne,
Eric B and Rakim,
Aloha Tigers,
Marshall Jefferson,
Be Bop Deluxe,
Dead Boys,
The Doors,
Kaleidoscope,
Spoonie Gee,
Albert Ayler,
Schoolly D,
The Vogues,
Infiniti,
Fela Kuti,
Negative Approach,
Peter & Gordon,
Accadde A,
Altered Images,
Absolute Body Control,
Skaos,
Jeru the Damaja,
Rosa Yemen,
Con Funk Shun,
Arcadia,
John Coltrane,
Soft Machine,
Maleditus Sound,
Clear Light,
The Sonics,
Faust,
New Order,
Agitation Free,
The Birthday Party,
The Peanut Butter Conspiracy,
The Cowsills,
the Slits,
The Blues Magoos,
The Kinks,
the Germs,
Major Organ And The Adding Machine,
The Detroit Cobras,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.