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 New Zealand and from Lille.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Tehran and Bologna.
I'm losing my edge to the art-school Milan 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Blancmange to the techno kids.
I played it at the Troubador.
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 Soul II Soul. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Dark Day,
Camron Feat. Memphis Bleek And Beenie Seigel,
Be Bop Deluxe,
Average White Band,
Aswad,
Circle Jerks,
Model 500,
Charles Mingus,
Can,
Flipper,
Wire,
8 Eyed Spy,
The Mummies,
Con Funk Shun,
Parry Music,
Youth Brigade,
cv313,
The Gladiators,
Man Parrish,
Blossom Toes,
Fort Wilson Riot,
Symarip,
The Associates,
Lower 48,
Eddi Front,
Masters at Work,
Cal Tjader,
Alison Limerick,
Bobby Byrd,
Piero Umiliani,
Avey Tare's Slasher Flicks,
Major Organ And The Adding Machine,
Black Moon,
Funky Four + One,
Camberwell Now,
Robert Wyatt,
Negative Approach,
Nick Fraelich,
Black Pus,
Larry & the Blue Notes,
Deutsch Amerikanische Freundschaft,
Marine Girls,
The Offenders,
10cc,
Au Pairs,
R.M.O.,
The American Breed,
Josef K,
The Martian,
Marshall Jefferson,
Kango’s Stein Massive,
Skriet,
a-ha,
The Black Dice,
Skarface,
Gastr Del Sol,
The Fall,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.