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 Laos and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Accra and Lagos.
I'm losing my edge to the art-school Columbus 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 spring reverb 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 Alton Ellis to the crunk 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 Alphaville tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal grime 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Orchestral Manoeuvres in the Dark,
Crash Course in Science,
Scientists,
Toni Rubio,
Amon Düül,
AZ,
Glambeats Corp.,
E-Dancer,
The West Coast Pop Art Experimental Band,
Sun City Girls,
OOIOO,
Grandmaster Flash and the Furious Five,
Marvin Gaye,
Youth Brigade,
One Last Wish,
Lou Reed,
the Bar-Kays,
Kerrie Biddell,
The Doors,
Barrington Levy,
Radio Birdman,
KRS-One,
The American Breed,
Dark Day,
Dual Sessions,
Fela Kuti,
Man Parrish,
Mary Jane Girls,
Monolake,
Ronnie Foster,
Fugazi,
Ten City,
The Moleskins,
Swell Maps,
Mr. Review,
Pagans,
Heavy D & The Boyz,
Eve St. Jones,
Ultravox,
Andrew Ashong & Theo Parrish,
Icehouse,
FM Einheit,
Sam Rivers,
Dawn Penn,
Marine Girls,
Soul II Soul,
Gil Scott-Heron and Jamie xx,
Stockholm Monsters,
Angels of Light & Akron/Family,
Bang on a Can All-Stars,
Neil Young & Crazy Horse,
Ponytail,
Television,
Rufus Thomas,
John Lydon,
Kaleidoscope,
Leonard Cohen,
Lizzy Mercier Descloux,
Sixth Finger,
Technova, Technova, Technova, Technova.
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.