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 St Lucia and from Lille.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Calgary and Edmonton.
I'm losing my edge to the art-school Lyon 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 oboe 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 Motorama to the punk kids.
I played it at the Spitz.
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 LL Cool J. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Jesper Dahlback 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 '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
A Certain Ratio,
Yellowson,
The Music Machine,
Buzzcocks,
Whodini,
Wally Richardson,
Gil Scott-Heron & Brian Jackson,
The Leaves,
Louis and Bebe Barron,
the Fania All-Stars,
Lightning Bolt,
Mantronix,
The Standells,
Technova,
Red Lorry Yellow Lorry,
Oppenheimer Analysis,
Lalo Schifrin,
Henry Cow,
Kool Moe Dee,
The Toasters,
Radiohead,
The Dead C,
Infiniti,
The Cure,
The Mighty Diamonds,
Yazoo,
Kaleidoscope,
Spoonie Gee,
Gil Scott Heron,
Scrapy,
Bush Tetras,
Yusef Lateef,
The Detroit Cobras,
Los Fastidios,
Cameo,
New Order,
X-102,
It's A Beautiful Day,
Mr. Review,
Blancmange,
Lebanon Hanover,
The Men They Couldn't Hang,
The Remains,
Beasts of Bourbon,
Wighnomy Brothers & Robag Wruhme,
Suicide,
These Immortal Souls,
Groovy Waters,
X-101,
Saccharine Trust,
Khruangbin,
Kango’s Stein Massive,
Brass Construction,
The Pretty Things,
Marshall Jefferson,
New York Dolls,
Roy Ayers,
Echospace,
Roy Ayers Ubiquity,
Q and Not U,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.