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 Croatia and from Hong Kong.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 The Dead C to the punk kids.
I played it at the 40 Watt.
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 Black Moon. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every X-102 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Sight & Sound,
Absolute Body Control,
The Litter,
Bootsy Collins,
Trumans Water,
CMW,
Alison Limerick,
The Move,
Alice Coltrane,
the Germs,
Art Ensemble Of Chicago,
Jerry Gold Smith,
L. Decosne,
Ash Ra Tempel,
Gang of Four,
David McCallum,
The Doors,
Q and Not U,
Tres Demented,
Godley & Creme,
Soul II Soul,
Derrick May,
MC5,
Simply Red,
Sam Rivers,
Groovy Waters,
Lucky Dragons,
Maurizio,
Mark Hollis,
Funky Four + One,
June Days,
The Blackbyrds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Khruangbin,
Saccharine Trust,
The Neon Judgement,
Heavy D & The Boyz,
Das Ding,
Andrew Ashong & Theo Parrish,
Camberwell Now,
Marmalade,
Essential Logic,
Harpers Bizarre,
Joensuu 1685,
The Young Rascals,
Gil Scott Heron,
R.M.O.,
Circle Jerks,
Stockholm Monsters,
A Flock of Seagulls,
Arcadia,
A Certain Ratio,
Wire,
Cluster,
Roger Hodgson,
Bill Near,
Henry Cow,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wolf Eyes,
Skarface,
Oneida,
Malaria!, Malaria!, Malaria!, Malaria!.
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.