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 Guinea and from Calgary.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lagos and Cairo.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Sun Ra Arkestra to the grime 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 Crispy Ambulance. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
The Men They Couldn't Hang,
Groovy Waters,
Minny Pops,
K-Klass,
Howard Jones,
Los Fastidios,
Lizzy Mercier Descloux,
DJ Sneak,
Rhythm & Sound,
Shoche,
Cal Tjader,
Parry Music,
Kerri Chandler,
Scion,
Q65,
Andrew Hill,
The Red Krayola,
Harmonia,
Hasil Adkins,
Thompson Twins,
Sound Behaviour,
UT,
Lou Reed & John Cale,
The Durutti Column,
Heaven 17,
Excepter,
Spandau Ballet,
Letta Mbulu,
Fad Gadget,
Amazonics,
Donald Byrd,
Vaughan Mason & Crew,
The Peanut Butter Conspiracy,
Eli Mardock,
Monks,
Television Personalities,
Robert Görl,
Malaria!,
Severed Heads,
Sly & The Family Stone,
Ultramagnetic MC's,
the Bar-Kays,
The Cosmic Jokers,
Cecil Taylor,
Joensuu 1685,
Mandrill,
The Cure,
Gregory Isaacs,
The Mighty Diamonds,
Liaisons Dangereuses,
Kool G Rap & DJ Polo,
The Skatalites,
Ten City,
The Residents,
Al Stewart,
Mo-Dettes,
Johnny Osbourne,
Rosa Yemen,
Kas Product,
Delon & Dalcan,
Davy DMX,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.