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 Nauru and from Manchester.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Houston.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 the Normal to the dance kids.
I played it at Cafe Wha.
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 Sound. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Judy Mowatt 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
The Kinks,
Lucky Dragons,
Derrick May,
Ultra Naté,
Bauhaus,
Jeff Mills,
Wighnomy Brothers & Robag Wruhme,
Unrelated Segments,
Clear Light,
The Star Department,
Can,
D'Angelo,
Bill Wells,
The Slits,
Shoche,
Surgeon,
Rod Modell,
8 Eyed Spy,
Swell Maps,
The Barracudas,
Oppenheimer Analysis,
Parry Music,
The Dead C,
Eurythmics,
Black Flag,
Pete Rock & C.L. Smooth,
Charles Mingus,
Thinking Fellers Union Local 282,
Alice Coltrane,
Derrick Morgan,
Minnie Riperton,
ABC,
Procol Harum,
The Blackbyrds,
Cal Tjader,
Angry Samoans,
Sam Rivers,
Dead Boys,
Ultravox,
Yusef Lateef,
The Fugs,
Blancmange,
Royal Trux,
the Swans,
Freddie Wadling,
Kenny Larkin,
Gary Puckett & The Union Gap,
Ronnie Foster,
June Days,
Pussy Galore,
Deadbeat,
Adolescents,
Joyce Sims,
Moss Icon,
10cc,
Pierre Henry,
Trumans Water,
Piero Umiliani,
Alton Ellis,
Mark Hollis,
Sun Ra Arkestra,
Mary Jane Girls,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.