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 Ghana and from Stockholm.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Lille 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Justin Hinds & The Dominoes to the rock kids.
I played it at the Roxy.
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 Brass Construction. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Loose Ends 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
The Litter,
Subhumans,
Banda Bassotti,
Half Japanese,
Stereo Dub,
LL Cool J,
Sexual Harrassment,
Angels of Light & Akron/Family,
Rhythim Is Rhythim,
Judy Mowatt,
The Toasters,
Leonard Cohen,
A Certain Ratio,
The Grass Roots,
Erasure,
Main Source,
La Düsseldorf,
Skaos,
Wings,
Sex Pistols,
Lebanon Hanover,
The Last Poets,
Technova,
Bang on a Can All-Stars,
Gichy Dan,
Liliput,
Aural Exciters,
Buzzcocks,
David McCallum,
the Association,
Ken Boothe,
Joyce Sims,
Lalo Schifrin,
Soft Machine,
Josef K,
World's Most,
Los Fastidios,
Wire,
EPMD,
The Names,
Franke,
Marvin Gaye,
Sight & Sound,
Amazonics,
Arab on Radar,
Agitation Free,
Sun Ra Arkestra,
Oneida,
The Vogues,
John Holt,
N.O.R.E. Featuring Pharrell,
L. Decosne,
Organ,
Mantronix,
The Doobie Brothers,
Roy Ayers,
Boogie Down Productions,
Pylon,
Eli Mardock,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.