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 Mali and from Accra.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Anthony Braxton to the dance kids.
I played it at Trash.
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 Pantaleimon. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Sun Ra 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Ultra Naté,
Kas Product,
Oppenheimer Analysis,
Hardrive,
Organ,
Soulsonic Force,
Stetsasonic,
Johnny Clarke,
The Dirtbombs,
Judy Mowatt,
Gang Gang Dance,
Loose Ends,
The Standells,
Zero Boys,
Simply Red,
The Invisible,
Nils Olav,
Marc Almond,
New York Dolls,
Terry Callier,
Delon & Dalcan,
Eric Copeland,
Mo-Dettes,
The Beau Brummels,
The Slits,
Pete Rock & C.L. Smooth,
The Gun Club,
Jimmy McGriff,
Lou Reed,
Index,
Absolute Body Control,
The Birthday Party,
The Durutti Column,
Rakim,
the Soft Cell,
Livin' Joy,
Andrew Hill,
Eurythmics,
Radiopuhelimet,
the Slits,
UT,
Harmonia,
cv313,
Joe Smooth,
Lizzy Mercier Descloux,
Bang on a Can All-Stars,
LL Cool J,
The Red Krayola,
Khruangbin,
Second Layer,
Röyhkä ja Rättö ja Lehtisalo,
Matthew Bourne,
Kerrie Biddell,
Spoonie Gee,
Nick Cave & The Bad Seeds,
Andrew Ashong & Theo Parrish,
Metal Thangz,
Slick Rick,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.