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 Mozambique 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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron 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 Q65 to the disco 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 Minor Threat. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Bizarre Inc.,
Soul Sonic Force,
Marc Romboy vs. Booka Shade,
The Music Machine,
James White and The Blacks,
The Peanut Butter Conspiracy,
Terror Squad Feat. Camron,
Sarah Menescal,
DNA,
Be Bop Deluxe,
Moebius,
Maurizio,
Cal Tjader,
Can,
The Leaves,
Sonny Sharrock,
Y Pants,
Patti Smith,
Camron Feat. Memphis Bleek And Beenie Seigel,
Visage,
Khruangbin,
Cecil Taylor,
The Skatalites,
Oppenheimer Analysis,
Bob Dylan,
Man Eating Sloth,
Rekid,
Sexual Harrassment,
The Residents,
Camouflage,
The Mojo Men,
Orchestral Manoeuvres in the Dark,
Hardrive,
Gang of Four,
Stiv Bators,
Pussy Galore,
Sonic Youth,
Ultra Naté,
The Gories,
Glambeats Corp.,
Bobby Sherman,
Janne Schatter,
L. Decosne,
Pagans,
Bauhaus,
Lou Reed,
Boredoms,
Aural Exciters,
Derrick Morgan,
Sam Rivers,
Curtis Mayfield,
Index,
Cluster,
Pere Ubu,
Susan Cadogan,
The Monks,
Masters at Work,
Public Image Ltd.,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.