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 Nepal and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Manchester 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Harry Pussy to the techno 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 The Neon Judgement. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Althea and Donna 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 '70s 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 Marshall Jefferson record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Simply Red,
Ludus,
Prince Buster,
Electric Prunes,
The United States of America,
Depeche Mode,
The Alarm Clocks,
Grandmaster Flash and the Furious Five,
Liaisons Dangereuses,
Delta 5,
Funky Four + One,
Andrew Ashong & Theo Parrish,
Eric B and Rakim,
Spoonie Gee,
Adolescents,
Josef K,
Bronski Beat,
Procol Harum,
The American Breed,
Robert Wyatt,
FM Einheit,
Dual Sessions,
the Normal,
Guru Guru,
Aloha Tigers,
Shoche,
Peter Gordon & Love of Life Orchestra,
Fluxion,
Terry Callier,
cv313,
La Düsseldorf,
Model 500,
Kerrie Biddell,
Max Romeo,
Judy Mowatt,
Lungfish,
Visage,
Section 25,
the Swans,
Lee Hazlewood,
New York Dolls,
Juan Atkins,
The Tremeloes,
Inner City,
Peter & Gordon,
Blancmange,
ABBA,
This Heat,
Faraquet,
Pantaleimon,
Jeru the Damaja,
Traffic Nightmare,
Be Bop Deluxe,
Dave Gahan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
Laurel Aitken,
Sun Ra Arkestra,
Joensuu 1685,
Interpol,
June of 44,
Spandau Ballet,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.