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 Gambia and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Gil Scott-Heron & Brian Jackson to the rap 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 Kayak. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Kauko Röyhkä ja Narttu,
Sound Behaviour,
Bush Tetras,
The Buckinghams,
Moby Grape,
The United States of America,
Reagan Youth,
Eric Copeland,
Tomorrow,
Neil Young,
The Grass Roots,
Can,
Eric Dolphy,
Crash Course in Science,
Sight & Sound,
Peter Gordon & Love of Life Orchestra,
The Standells,
Gong,
Connie Case,
Warren Ellis,
Angry Samoans,
Gregory Isaacs,
Ten City,
Kaleidoscope,
Boogie Down Productions,
Interpol,
Livin' Joy,
Sarah Menescal,
Gil Scott-Heron and Jamie xx,
Cameo,
The Pop Group,
Janne Schatter,
Max Romeo,
Cheater Slicks,
The Residents,
The Cure,
Arab on Radar,
Kurtis Blow,
B.T. Express,
David Bowie,
Fad Gadget,
Newcleus,
Fear,
Rowland S Howard / Lydia Lunch,
Crooked Eye,
Johnny Osbourne,
AZ,
Hardrive,
One Last Wish,
Scientists,
Accadde A,
Bobby Hutcherson,
Terrestrial Tones,
The Music Machine,
Rapeman,
a-ha,
Alison Limerick,
Lower 48,
X-101,
Flash Fearless,
Orchestral Manoeuvres in the Dark,
Joensuu 1685,
Harmonia, Harmonia, Harmonia, Harmonia.
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.