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 East Timor and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1976.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Ten City to the funk kids.
I played it at the Astoria.
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 Joe Smooth. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Grandmaster Flash and the Furious Five,
Television,
Man Parrish,
Lalann,
The Pretty Things,
The Zeros,
AZ,
Groovy Waters,
H. Thieme,
Spoonie Gee,
Hardrive,
Oblivians,
a-ha,
Connie Case,
10cc,
Alice Coltrane,
The Cure,
Lizzy Mercier Descloux,
The Smiths,
Surgeon,
Lakeside,
Country Teasers,
Minor Threat,
Gastr Del Sol,
Black Flag,
Vainqueur,
ABC,
Aswad,
Pantytec,
Graham Central Station,
Robert Hood,
Lebanon Hanover,
Nils Olav,
Arcadia,
the Swans,
Tears for Fears,
The Names,
The Detroit Cobras,
R.M.O.,
Skaos,
Crash Course in Science,
Joe Finger,
Mr. Review,
The Shadows of Knight,
Erykah Badu,
Reagan Youth,
Marmalade,
X-Ray Spex,
Lou Reed & John Cale,
Ohio Players,
Rod Modell,
China Crisis,
Magazine,
Con Funk Shun,
Lightning Bolt,
T.S.O.L.,
Matthew Halsall,
Arthur Verocai,
Derrick Morgan,
Eli Mardock,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.