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 St Kitts & Nevis and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Manila 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Siglo XX to the funk kids.
I played it at the Astoria.
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 Camouflage. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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?
Ossler,
Orchestral Manoeuvres in the Dark,
Zero Boys,
Neil Young & Crazy Horse,
Model 500,
Wally Richardson,
Deakin,
The Music Machine,
Pantytec,
Sound Behaviour,
The Fire Engines,
The Litter,
Kerrie Biddell,
Lungfish,
David Axelrod,
Motorama,
The Walker Brothers,
Tim Buckley,
Bobby Sherman,
The Move,
Drive Like Jehu,
Nico,
The Selecter,
Oppenheimer Analysis,
Jacob Miller,
These Immortal Souls,
Ice-T,
Ronan,
Jerry's Kids,
Al Stewart,
Malaria!,
Mission of Burma,
Aswad,
Jeru the Damaja,
Susan Cadogan,
Reuben Wilson,
Lou Christie,
The Motions,
Sonny Sharrock,
The New Christs,
Pete Rock & C.L. Smooth,
Idris Muhammad,
The Cramps,
Japan,
Beasts of Bourbon,
Crash Course in Science,
Iggy Pop,
Traffic Nightmare,
Wings,
the Bar-Kays,
Bad Manners,
Cabaret Voltaire,
John Coltrane,
Don Cherry,
The Velvet Underground,
Infiniti,
Amazonics,
Anakelly,
The Index,
Neu!,
Heavy D & The Boyz,
Silicon Teens,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.