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 Russia and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Fatback Band to the disco kids.
I played it at the Spitz.
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 Peter & Gordon. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Ralphi Rosario record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Visage,
Liliput,
Cluster,
CMW,
Louis and Bebe Barron,
Metal Thangz,
James Chance & The Contortions,
The Invisible,
Bobby Byrd,
Main Source,
Sex Pistols,
Fatback Band,
Boogie Down Productions,
Kango’s Stein Massive,
Nas,
Aaron Thompson,
Lucky Dragons,
Yaz,
Super Lover Cee & Casanova Rud,
The Selecter,
Monks,
Faust,
Blancmange,
Gil Scott Heron,
Popol Vuh,
Man Parrish,
Eden Ahbez,
Surgeon,
Girls At Our Best!,
Joensuu 1685,
the Human League,
Minny Pops,
Amon Düül,
Scientists,
Donald Byrd,
Graham Central Station,
Anthony Braxton,
The Neon Judgement,
Nils Olav,
Harry Pussy,
Aswad,
The Knickerbockers,
Sam Rivers,
Henry Cow,
EPMD,
Accadde A,
Sun City Girls,
Lonnie Liston Smith,
Mandrill,
Pantaleimon,
Ultramagnetic MC's,
Goldenarms,
Sparks,
Curtis Mayfield,
Flipper,
The Fortunes,
Gang Green,
The Sound,
Crime,
Kaleidoscope,
Major Organ And The Adding Machine,
Neu!, Neu!, Neu!, Neu!.
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.