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 Ivory Coast and from Johannesburg.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school London 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 Soft Boys practice in a loft in Cambridge.
I was working on the theremin 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 Symarip to the techno kids.
I played it at the Crocodile.
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 Slits. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Soulsonic Force 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Half Japanese,
The Offenders,
FM Einheit,
Rites of Spring,
Urselle,
Throbbing Gristle,
Babytalk,
Pantaleimon,
Icehouse,
Bluetip,
X-101,
Lizzy Mercier Descloux,
Bobby Sherman,
Livin' Joy,
Soft Machine,
Bang On A Can,
The Martian,
Eddi Front,
Gabor Szabo,
Thee Headcoats,
China Crisis,
Schoolly D,
Sparks,
Quantec,
Yusef Lateef,
Lou Reed & John Cale,
The Trojans,
The Index,
Sun Ra Arkestra,
Frankie Knuckles,
Vladislav Delay,
Man Parrish,
Ludus,
Alphaville,
Zapp,
Scott Walker + Sunn O))),
Porter Ricks,
Kool G Rap & DJ Polo,
Crash Course in Science,
Blancmange,
Jacques Brel,
David Bowie,
Donny Hathaway,
Anakelly,
Fat Boys,
Los Fastidios,
Spandau Ballet,
Marmalade,
Cabaret Voltaire,
Terry Callier,
D'Angelo,
Fugazi,
Mission of Burma,
The Last Poets,
The Fortunes,
E-Dancer,
Dorothy Ashby,
Ornette Coleman,
Ken Boothe,
Nick Cave & The Bad Seeds,
Interpol,
In Retrospect,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.