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 Luxembourg and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Barbara Tucker to the funk 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 Loose Ends. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Jerry's Kids,
Echospace,
Marc Almond,
Aswad,
UT,
Major Organ And The Adding Machine,
Traffic Nightmare,
Glambeats Corp.,
Al Stewart,
Parry Music,
Sam Rivers,
Donny Hathaway,
Cluster,
Monolake,
The United States of America,
Funky Four + One,
Pet Shop Boys,
Harmonia,
Eyeless In Gaza,
Red Lorry Yellow Lorry,
The Smoke,
The Selecter,
Rhythm & Sound,
Radiopuhelimet,
Swell Maps,
Scan 7,
Ohio Players,
The Five Americans,
Dawn Penn,
The Count Five,
Crash Course in Science,
Half Japanese,
Absolute Body Control,
Sparks,
Model 500,
Rahsaan Roland Kirk,
Rites of Spring,
John Foxx,
Ice-T,
Dorothy Ashby,
Jeff Lynne,
Silicon Teens,
Sixth Finger,
Grey Daturas,
10cc,
Vaughan Mason & Crew,
Joey Negro,
Livin' Joy,
Eve St. Jones,
The Happenings,
Tres Demented,
Art Ensemble Of Chicago,
Blossom Toes,
Motorama,
Eurythmics,
The J.B.'s,
Jimmy McGriff,
Swans,
Joe Smooth,
Au Pairs,
World's Most,
PIL, PIL, PIL, PIL.
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.