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 Jamaica and from Jakarta.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
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 Nick Fraelich to the grime 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 Deakin. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Fela Kuti,
Gabor Szabo,
Peter & Gordon,
Roxy Music,
Monks,
Althea and Donna,
Chris & Cosey,
Fifty Foot Hose,
Thompson Twins,
De La Soul & Jungle Brothers,
The Tremeloes,
Eli Mardock,
Strawberry Alarm Clock,
Morten Harket,
Larry & the Blue Notes,
Newcleus,
Susan Cadogan,
Sparks,
Amon Düül II,
The Red Krayola,
Simply Red,
Country Joe & The Fish,
Anakelly,
Organ,
the Soft Cell,
Magazine,
Crispian St. Peters,
The Pop Group,
Desert Stars,
Amon Düül,
Interpol,
Deepchord,
Robert Görl,
The Cure,
Neil Young,
The Black Dice,
Röyhkä ja Rättö ja Lehtisalo,
Ken Boothe,
The Litter,
B.T. Express,
The Modern Lovers,
Sugar Minott,
Jacques Brel,
The United States of America,
The Jesus and Mary Chain,
New Order,
Gian Franco Pienzio,
One Last Wish,
These Immortal Souls,
Lafayette Afro Rock Band,
Minny Pops,
Yaz,
Shoche,
Symarip,
Harpers Bizarre,
Crime,
the Normal,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Real Kids,
Lou Reed & Metallica,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.