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 Kenya and from London.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Beijing and Manchester.
I'm losing my edge to the art-school Stockholm 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 guitar 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 Aural Exciters to the dance kids.
I played it at the Hacienda.
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 Can. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
8 Eyed Spy,
The Tremeloes,
Zapp,
Radiopuhelimet,
Jeff Lynne,
Ultravox,
Masters at Work,
Gerry Rafferty,
Bang on a Can All-Stars,
Camouflage,
Alton Ellis,
Organ,
Connie Case,
Scott Walker + Sunn O))),
The Invisible,
Boredoms,
June Days,
Todd Terry,
Gil Scott-Heron and Jamie xx,
ABBA,
Pole,
London Community Gospel Choir,
Niagra,
Flash Fearless,
The Red Krayola,
Neu!,
Rekid,
Man Parrish,
Crispian St. Peters,
Bootsy Collins,
The Selecter,
Shuggie Otis,
The Real Kids,
Grandmaster Flash,
Ultra Naté,
Black Moon,
Crooked Eye,
Kaleidoscope,
Dennis Brown,
The Mighty Diamonds,
Ornette Coleman,
Lou Reed & John Cale,
The Fuzztones,
Roy Ayers,
Ronan,
The Black Dice,
Sad Lovers and Giants,
Smog,
Tommy Roe,
Half Japanese,
Duran Duran,
Zero Boys,
Rhythim Is Rhythim,
Monolake,
Ralphi Rosario,
The Durutti Column,
Byron Stingily,
Gang Green,
Cybotron,
Thompson Twins,
Pierre Henry,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.