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 Djibouti and from Toronto.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school Houston 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 theremin sounds with much patience.
I was there when Holger Czukay 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 B.T. Express to the crunk kids.
I played it at the Troubador.
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 Ossler. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Charles Mingus,
Monks,
Nirvana,
Roger Hodgson,
Dennis Brown,
One Last Wish,
The J.B.'s,
Das Ding,
the Slits,
Accadde A,
Slave,
Faust,
Archie Shepp,
Camron Feat. Jay Z And Juelz,
Gabor Szabo,
48th St. Collective,
Lee Hazlewood,
Popol Vuh,
Prince Buster,
Babytalk,
Kas Product,
Radio Birdman,
The Leaves,
The Cowsills,
Eddi Front,
Sad Lovers and Giants,
Arcadia,
Massinfluence,
Soft Machine,
The Red Krayola,
Eyeless In Gaza,
Judy Mowatt,
Peter and Kerry,
The Knickerbockers,
Peter & Gordon,
Gregory Isaacs,
Donny Hathaway,
Röyhkä ja Rättö ja Lehtisalo,
Roy Ayers Ubiquity,
Rosa Yemen,
Notorious Big And Bone Thugs,
Yaz,
Metal Thangz,
Alton Ellis,
The Star Department,
Kurtis Blow,
Tears for Fears,
Tommy Roe,
Underground Resistance,
Icehouse,
Marcia Griffiths,
These Immortal Souls,
the Soft Cell,
Subhumans,
Scion,
Chrome,
Nils Olav,
Anakelly,
Rhythim Is Rhythim,
The Music Machine,
Gang Starr,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.