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 Moldova and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lyon and Lyon.
I'm losing my edge to the art-school Accra 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 oboe sounds with much patience.
I was there when Donald Fagen 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 The Selecter to the electroclash 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 Monolake. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes 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 Chocolate Watch Band,
Matthew Bourne,
David Axelrod,
Desert Stars,
48th St. Collective,
Roger Hodgson,
Magma,
Tears for Fears,
Siglo XX,
The Remains,
Kool Moe Dee,
Letta Mbulu,
Joey Negro,
Scion,
Loose Ends,
Bobby Byrd,
Andrew Ashong & Theo Parrish,
The Mighty Diamonds,
MDC,
Fatback Band,
Inner City,
Dawn Penn,
Tropical Tobacco,
The Zeros,
Technova,
Charles Mingus,
Deepchord,
Quando Quango,
Gregory Isaacs,
Cluster,
Jerry Gold Smith,
Hasil Adkins,
Franke,
Erasure,
Surgeon,
Piero Umiliani,
Justin Hinds & The Dominoes,
Radiopuhelimet,
The West Coast Pop Art Experimental Band,
Richard Hell and the Voidoids,
Harmonia,
Wally Richardson,
Todd Terry,
The Cramps,
Bill Wells,
The Blues Magoos,
Marine Girls,
The New Christs,
The Human League,
The Smiths,
Sly & The Family Stone,
Spandau Ballet,
Junior Murvin,
Crispy Ambulance,
Anthony Braxton,
KRS-One,
Ornette Coleman,
Roy Ayers Ubiquity,
Josef K,
The Trojans, The Trojans, The Trojans, The Trojans.
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.