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 Austria and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
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 mellotron sounds with much patience.
I was there when Lou Reed 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 Fort Wilson Riot to the dance kids.
I played it at the Spitz.
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 The Star Department. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Loose Ends 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
Sexual Harrassment,
Delon & Dalcan,
L. Decosne,
The Pop Group,
Boz Scaggs,
Flipper,
Joyce Sims,
The Young Rascals,
F. McDonald,
Rufus Thomas,
Graham Central Station,
Youth Brigade,
Rotary Connection,
R.M.O.,
K-Klass,
Marine Girls,
Lonnie Liston Smith,
Yaz,
Hasil Adkins,
Roger Hodgson,
The Trojans,
John Cale,
the Human League,
Ossler,
Laurel Aitken,
Pole,
The Misunderstood,
Byron Stingily,
Lizzy Mercier Descloux,
Crash Course in Science,
Sixth Finger,
Eurythmics,
John Holt,
Cameo,
Danielle Patucci,
David Bowie,
Connie Case,
Maurizio,
CMW,
H. Thieme,
Terry Callier,
James Chance & The Contortions,
Bronski Beat,
Porter Ricks,
Blake Baxter,
Pagans,
Max Romeo,
The Busters,
Ludus,
Archie Shepp,
KRS-One,
Joe Smooth,
Eli Mardock,
Country Joe & The Fish,
The Mummies,
the Bar-Kays,
Quantec,
Brass Construction,
Zero Boys,
Mandrill,
Kauko Röyhkä ja Narttu,
Black Moon,
Gong,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.