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 Malawi and from Cairo.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Calgary 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Todd Terry to the disco kids.
I played it at the Astoria.
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 J.B.'s. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Quadrant,
Lakeside,
Technova,
Whodini,
DNA,
The Move,
Delon & Dalcan,
Dennis Brown,
One Last Wish,
Hot Snakes,
Brass Construction,
Derrick Morgan,
MDC,
Television,
The Cure,
Cymande,
Todd Rundgren,
The Standells,
Simply Red,
Crispian St. Peters,
Quantec,
Gregory Isaacs,
Avey Tare's Slasher Flicks,
Stetsasonic,
Minnie Riperton,
Kayak,
Jesper Dahlback,
Soul Sonic Force,
Bluetip,
Absolute Body Control,
John Foxx,
Aswad,
The Moleskins,
Underground Resistance,
Jimmy McGriff,
Second Layer,
The Cosmic Jokers,
Pharaoh Sanders and the Fire Engines,
Lindisfarne,
Neil Young,
The Count Five,
Kenny Larkin,
Bootsy Collins,
Ultravox,
Fear,
Marmalade,
Mary Jane Girls,
Erasure,
Electric Light Orchestra,
the Sonics,
Basic Channel,
The Mighty Diamonds,
Flipper,
Dr. Dre and Snoop Doggy Dog,
Gang Gang Dance,
Donny Hathaway,
Anakelly,
Deutsch Amerikanische Freundschaft,
Yazoo,
Vladislav Delay,
Joy Division,
Harpers Bizarre,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.