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 Bahrain and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Halifax 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 linndrum sounds with much patience.
I was there when David Bowie 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 Model 500 to the techno kids.
I played it at CBGB's.
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 Prince Buster. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Traffic Nightmare,
UT,
The Music Machine,
Orchestral Manoeuvres in the Dark,
China Crisis,
Lyres,
Sexual Harrassment,
Matthew Halsall,
Andrew Hill,
Jerry's Kids,
DeepChord presents Echospace,
The Evens,
Roger Hodgson,
Average White Band,
Sonny Sharrock,
Banda Bassotti,
The Smoke,
Arthur Verocai,
Gregory Isaacs,
Soft Cell,
Saccharine Trust,
Wighnomy Brothers & Robag Wruhme,
Grandmaster Flash,
Flamin' Groovies,
Röyhkä ja Rättö ja Lehtisalo,
Kool G Rap & DJ Polo,
Sam Rivers,
the Sonics,
Pharaoh Sanders and the Fire Engines,
The Dirtbombs,
Loose Ends,
Symarip,
Lalo Schifrin,
Peter & Gordon,
Tom Boy,
DNA,
The Motions,
Ornette Coleman,
Cymande,
Altered Images,
Ituana,
Ajijia Myrayebe,
Eurythmics,
Bang on a Can All-Stars,
Cabaret Voltaire,
MDC,
Archie Shepp,
Outsiders,
Kas Product,
Jeff Lynne,
X-102,
The Leaves,
Soul II Soul,
The Toasters,
Maleditus Sound,
Television Personalities,
Ash Ra Tempel,
The Sound,
Jimmy McGriff,
Kaleidoscope,
Yazoo, Yazoo, Yazoo, Yazoo.
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.