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 Korea North and from Lagos.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Aaron Thompson to the grime 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 Hashim. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
UT,
Minny Pops,
Rapeman,
Thee Headcoats,
Qualms,
Shuggie Otis,
Pussy Galore,
Half Japanese,
Procol Harum,
Smog,
Art Ensemble Of Chicago,
Swans,
Scott Walker + Sunn O))),
Scan 7,
Scott Walker,
The Dirtbombs,
Funkadelic,
Rahsaan Roland Kirk,
Vainqueur,
The Gories,
Gerry Rafferty,
The Invisible,
Gang Gang Dance,
Jawbox,
Traffic Nightmare,
Connie Case,
John Lydon,
Neu!,
Magazine,
Quadrant,
The Busters,
Moss Icon,
Yellowson,
Cecil Taylor,
Jeff Lynne,
Grandmaster Flash,
The Litter,
Jacob Miller,
Agent Orange,
The Skatalites,
Matthew Halsall,
The Remains,
Jacques Brel,
John Foxx,
Unrelated Segments,
The Grass Roots,
Sixth Finger,
Erykah Badu,
Little Man,
Wings,
Piero Umiliani,
Ice-T,
Peter Gordon & Love of Life Orchestra,
Oblivians,
X-Ray Spex,
Goldenarms,
The Zeros,
The Knickerbockers,
Siglo XX,
The Fugs,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.