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 Serbia and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Seoul 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Victims to the rap 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 Lungfish. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Amazonics 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your marimba and bought a marimba.
I hear that you and your band have sold your marimba and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Minor Threat,
D'Angelo,
Joyce Sims,
Visionaries,LMNO, T- Love & Iriscience,
Hot Snakes,
Spandau Ballet,
New York Dolls,
Marmalade,
The Leaves,
Cabaret Voltaire,
Roy Ayers Ubiquity,
E-Dancer,
PIL,
The Fall,
The Vogues,
Super Lover Cee & Casanova Rud,
Shuggie Otis,
Rosa Yemen,
Morten Harket,
R.M.O.,
The Invisible,
Art Ensemble Of Chicago,
Cluster,
Kurtis Blow,
Alphaville,
Pere Ubu,
Von Mondo,
Television Personalities,
Orchestral Manoeuvres in the Dark,
Henry Cow,
Jeff Mills,
The Pretty Things,
ABC,
Slick Rick,
Robert Görl,
Marcia Griffiths,
Jerry's Kids,
Tres Demented,
Mary Jane Girls,
Frankie Knuckles,
Desert Stars,
Freddie Wadling,
Juan Atkins,
Amazonics,
Pharoah Sanders,
JFA,
Kerri Chandler,
MDC,
Suburban Knight,
the Soft Cell,
Inner City,
Albert Ayler,
Lebanon Hanover,
The Blackbyrds,
The Techniques,
Gichy Dan,
June Days,
Fifty Foot Hose,
Donald Byrd,
Cymande,
ABBA,
Amon Düül II,
Crispian St. Peters,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.