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 Zambia and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1970.
I'm losing my edge.
To all the kids in Mumbai and Accra.
I'm losing my edge to the art-school Mexico City 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 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 Soulsonic Force to the crunk 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 the Fania All-Stars. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Eden Ahbez,
Faraquet,
Whodini,
Drexciya,
Red Lorry Yellow Lorry,
Cheater Slicks,
Alison Limerick,
Khruangbin,
FM Einheit,
MC5,
Nas,
Moebius,
The Wake,
Heaven 17,
Soulsonic Force,
Bill Wells,
a-ha,
Gichy Dan,
Simply Red,
Art Ensemble Of Chicago,
Alice Coltrane,
Tubeway Army,
Altered Images,
X-101,
The Busters,
Funkadelic,
Albert Ayler,
Marmalade,
Roxette,
Supertramp,
The United States of America,
John Foxx,
Bootsy Collins,
The Evens,
the Slits,
The Barracudas,
The Vogues,
Iggy Pop,
Eyeless In Gaza,
Eddi Front,
Jesper Dahlbäck,
Lalo Schifrin,
The Gap Band,
Lee Hazlewood,
The Dave Clark Five,
Saccharine Trust,
Camberwell Now,
Derrick Morgan,
The J.B.'s,
Brand Nubian,
The Zeros,
Kool G Rap & DJ Polo,
Yellowson,
Soul Sonic Force,
Warren Ellis,
Ludus,
Lyres,
Andrew Hill,
Scion,
The Blues Magoos,
Bill Near, Bill Near, Bill Near, Bill Near.
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.