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 Antigua and from Winnipeg.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Calgary.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Accadde A to the dance kids.
I played it at CBGB's.
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 the Sonics. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Gil Scott Heron,
Soft Cell,
Eve St. Jones,
Gang of Four,
Moby Grape,
Jeff Mills,
Liaisons Dangereuses,
The Names,
Joensuu 1685,
Main Source,
The Standells,
Steve Hackett,
Crispian St. Peters,
Ten City,
Scientists,
Kaleidoscope,
Bush Tetras,
Todd Rundgren,
John Holt,
Mo-Dettes,
Albert Ayler,
The Victims,
The Selecter,
It's A Beautiful Day,
Roger Hodgson,
Funkadelic,
Black Pus,
Quantec,
The Black Dice,
Cecil Taylor,
Maurizio,
Nirvana,
Avey Tare's Slasher Flicks,
Porter Ricks,
Black Flag,
T.S.O.L.,
Kayak,
Robert Görl,
Stereo Dub,
The Smoke,
DJ Sneak,
Eurythmics,
London Community Gospel Choir,
Arcadia,
Royal Trux,
Marc Almond,
Gregory Isaacs,
Camberwell Now,
Jesper Dahlback,
Girls At Our Best!,
Lyres,
Yaz,
Sugar Minott,
Pere Ubu,
Cluster,
Soul II Soul,
The Invisible,
Spandau Ballet,
Lucky Dragons,
Ituana,
Accadde A,
Nils Olav,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.