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 Bosnia Herzegovina 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 1967 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Ten City to the grime 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 The Fall. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Lou Reed & John Cale,
Brass Construction,
The Moleskins,
The Monks,
Deadbeat,
Roy Ayers,
The Slits,
The Star Department,
Massinfluence,
Moby Grape,
Althea and Donna,
The Selecter,
Model 500,
Erasure,
The Motions,
Danielle Patucci,
Jawbox,
Slave,
Soulsonic Force,
The Five Americans,
Steve Hackett,
Niagra,
Kings Of Tomorrow,
Boogie Down Productions,
Popol Vuh,
Joy Division,
Sugar Minott,
Derrick Morgan,
Lucky Dragons,
Johnny Osbourne,
The Sisters of Mercy,
Man Parrish,
The Index,
John Coltrane,
Cameo,
Gichy Dan,
The Sound,
Leonard Cohen,
Suburban Knight,
Neil Young & Crazy Horse,
Eric Copeland,
Barclay James Harvest,
the Sonics,
Newcleus,
Crooked Eye,
Eden Ahbez,
James Chance & The Contortions,
Khruangbin,
Cal Tjader,
Toni Rubio,
Stockholm Monsters,
Susan Cadogan,
Michelle Simonal,
Tropical Tobacco,
The Human League,
Ice-T,
Deakin,
Roxy Music,
Scrapy,
Oppenheimer Analysis,
E-Dancer,
The Victims,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.