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 Djibouti and from Beijing.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Winnipeg 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the mellotron 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 Eddi Front to the techno kids.
I played it at the 40 Watt.
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 Ponytail. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
The Monochrome Set,
Connie Case,
Red Lorry Yellow Lorry,
Theoretical Girls,
Rowland S Howard / Lydia Lunch,
Harry Pussy,
Con Funk Shun,
Nils Olav,
Iggy Pop,
L. Decosne,
The Remains,
The Offenders,
Cheater Slicks,
The Cure,
The Music Machine,
8 Eyed Spy,
Andrew Hill,
Stiv Bators,
Rod Modell,
The Fall,
David Bowie,
Tim Buckley,
The Neon Judgement,
The Martian,
The Gories,
Jesper Dahlbäck,
Swans,
Groovy Waters,
Alison Limerick,
Intrusion,
The Monks,
Soulsonic Force,
Soul II Soul,
De La Soul & Jungle Brothers,
E-Dancer,
Black Pus,
Avey Tare,
Erasure,
Absolute Body Control,
Brass Construction,
Subhumans,
Jeff Lynne,
Altered Images,
Marmalade,
Leonard Cohen,
Jeff Mills,
Country Teasers,
Guru Guru,
Parry Music,
Carl Craig,
Ken Boothe,
The Zeros,
Icehouse,
Freddie Wadling,
Art Ensemble Of Chicago,
Black Flag,
Pantytec,
Ultravox,
Cluster,
Mary Jane Girls,
Lindisfarne,
Bob Dylan,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.