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 Egypt and from Stockholm.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Calgary 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 CMW to the electroclash 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 Arthur Verocai. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Traffic Nightmare 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Sarah Menescal,
Gil Scott-Heron and Jamie xx,
Marmalade,
The Litter,
Deakin,
Sight & Sound,
Joe Smooth,
DNA,
Nils Olav,
Juan Atkins,
New Age Steppers,
Procol Harum,
The Modern Lovers,
Fat Boys,
Pete Rock & C.L. Smooth,
The Doobie Brothers,
Lebanon Hanover,
Franke,
The West Coast Pop Art Experimental Band,
Lower 48,
Amon Düül II,
Reuben Wilson,
Deadbeat,
Sugar Minott,
Eve St. Jones,
The Misunderstood,
Dual Sessions,
Neu!,
The Five Americans,
Magazine,
The Pop Group,
Marc Almond,
Kenny Larkin,
Echospace,
the Swans,
Eyeless In Gaza,
Connie Case,
CMW,
Letta Mbulu,
The Toasters,
Index,
Black Pus,
The Skatalites,
Richard Hell and the Voidoids,
Chris & Cosey,
Cluster,
Dark Day,
Ludus,
Justin Hinds & The Dominoes,
Freddie Wadling,
Main Source,
Monks,
The Black Dice,
Suburban Knight,
The United States of America,
Crash Course in Science,
Pet Shop Boys,
N.O.R.E. Featuring Pharrell,
Young Marble Giants,
R.M.O.,
Second Layer,
Marc Romboy vs. Booka Shade,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.