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 Uzbekistan and from Paris.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe 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 Manfred Mann's Earth Band to the rap 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 Hashim. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Liliput 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Frankie Knuckles,
Procol Harum,
The Electric Prunes,
Roxette,
Scientists,
Talk Talk,
Soft Machine,
The Fuzztones,
Interpol,
The Modern Lovers,
The Cosmic Jokers,
Public Image Ltd.,
Crime,
The Blues Magoos,
Drive Like Jehu,
The Fire Engines,
Skriet,
Orchestral Manoeuvres in the Dark,
Kauko Röyhkä ja Narttu,
Sonny Sharrock,
Soft Cell,
The Selecter,
China Crisis,
a-ha,
The Gun Club,
Robert Wyatt,
The Vogues,
James Chance & The Contortions,
The Walker Brothers,
Quantec,
Red Lorry Yellow Lorry,
In Retrospect,
Rakim,
The Move,
The Blackbyrds,
Toni Rubio,
Beasts of Bourbon,
Jacob Miller,
48th St. Collective,
Susan Cadogan,
Warsaw,
Harpers Bizarre,
DeepChord presents Echospace,
Aural Exciters,
Erasure,
June Days,
Ossler,
Dead Boys,
Nik Kershaw,
Fear,
The Fortunes,
Throbbing Gristle,
Scan 7,
Cybotron,
Barbara Tucker,
Accadde A,
Vaughan Mason & Crew,
Flipper,
Louis and Bebe Barron,
Nick Fraelich,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.