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 Ethiopia and from Cairo.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school Glasgow 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 snare sounds with much patience.
I was there when Michael McDonald 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 Mars to the disco 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 Oppenheimer Analysis. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal disco 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Glambeats Corp.,
Suicide,
Camberwell Now,
Art Ensemble Of Chicago,
Danielle Patucci,
the Bar-Kays,
Crime,
The Move,
Marc Almond,
Teenage Jesus and the Jerks,
The Beau Brummels,
Ornette Coleman,
John Coltrane,
Groovy Waters,
Eric B and Rakim,
F. McDonald,
The Doors,
Oneida,
Gastr Del Sol,
Kevin Saunderson,
Marc Romboy vs. Booka Shade,
Sun Ra Arkestra,
Avey Tare's Slasher Flicks,
Cymande,
Harpers Bizarre,
Girls At Our Best!,
Terry Callier,
Shuggie Otis,
Clear Light,
Toni Rubio,
The Cowsills,
Radiopuhelimet,
Unrelated Segments,
Eric Copeland,
Urselle,
PIL,
Gong,
Ossler,
John Cale,
The Music Machine,
Aswad,
JFA,
EPMD,
Throbbing Gristle,
Bill Near,
The Mighty Diamonds,
The Skatalites,
Lou Christie,
Godley & Creme,
Pantytec,
Pussy Galore,
Todd Terry,
The Real Kids,
Glenn Branca,
The Buckinghams,
The Smiths,
Monks,
Dawn Penn,
The Fire Engines,
Ohio Players,
the Human League, the Human League, the Human League, the Human League.
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.