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 Bahamas and from Seoul.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Accra 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Curtis Mayfield to the grime kids.
I played it at the Hacienda.
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 Althea and Donna. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Ajijia Myrayebe,
Gong,
Pole,
Tropical Tobacco,
The Velvet Underground,
Brick,
Leonard Cohen,
Tommy Roe,
Pantytec,
Nik Kershaw,
Zapp,
The New Christs,
Andrew Ashong & Theo Parrish,
Barry Ungar,
Anakelly,
Reuben Wilson,
Joey Negro,
Rosa Yemen,
The Gap Band,
Rotary Connection,
The Moody Blues,
Ornette Coleman,
The West Coast Pop Art Experimental Band,
Sparks,
Ken Boothe,
The Grass Roots,
Yaz,
Sly & The Family Stone,
Arthur Verocai,
Notorious Big And Bone Thugs,
X-101,
Johnny Osbourne,
DNA,
Cluster,
Ultra Naté,
Little Man,
Audionom,
Nas,
Swell Maps,
Lonnie Liston Smith,
Whodini,
Visage,
The Moleskins,
Rapeman,
Wings,
Monks,
Andrew Hill,
Livin' Joy,
Goldenarms,
Inner City,
Half Japanese,
Kurtis Blow,
Girls At Our Best!,
Avey Tare,
Pet Shop Boys,
Zero Boys,
Red Lorry Yellow Lorry,
Suicide,
Susan Cadogan,
Black Bananas,
the Soft Cell,
Rowland S Howard / Lydia Lunch,
Simply Red, Simply Red, Simply Red, Simply Red.
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.