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 Bangladesh 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 1966 to 1976.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Bauhaus to the electroclash kids.
I played it at the Crocodile.
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 Sarah Menescal. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Ituana 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
JFA,
James White and The Blacks,
Popol Vuh,
X-101,
Scratch Acid,
Johnny Osbourne,
Rekid,
In Retrospect,
D'Angelo,
New Order,
Saccharine Trust,
The Fall,
The Zeros,
Patti Smith,
Gil Scott-Heron & Brian Jackson,
Richard Hell and the Voidoids,
Crispy Ambulance,
The Doobie Brothers,
DJ Sneak,
Royal Trux,
London Community Gospel Choir,
Ralphi Rosario,
Mr. Review,
Tres Demented,
The Fuzztones,
Visage,
The Gories,
Crooked Eye,
The Last Poets,
48th St. Collective,
Basic Channel,
the Soft Cell,
Steve Hackett,
Josef K,
Rufus Thomas,
Peter Gordon & Love of Life Orchestra,
Mark Hollis,
Ituana,
Essential Logic,
Sun City Girls,
Gong,
Von Mondo,
Angels of Light & Akron/Family,
Mars,
The Techniques,
Subhumans,
Henry Cow,
Mary Jane Girls,
the Slits,
Young Marble Giants,
ABBA,
Silicon Teens,
Lalo Schifrin,
Fluxion,
Cymande,
The Moody Blues,
Soul Sonic Force,
Derrick May,
Neil Young,
Anthony Braxton,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.