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 Tanzania and from Edmonton.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Lagos 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Byron Stingily to the rock 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 Bill Wells. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal jazz 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 a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Babytalk,
Röyhkä ja Rättö ja Lehtisalo,
Slave,
Hasil Adkins,
Lou Reed,
Metal Thangz,
ABBA,
MC5,
Ultra Naté,
Mad Mike,
Los Fastidios,
Gil Scott Heron,
Cal Tjader,
The Barracudas,
Derrick Morgan,
The Star Department,
Matthew Halsall,
Pantaleimon,
The Mummies,
Fela Kuti,
Pierre Henry,
Judy Mowatt,
Boz Scaggs,
Outsiders,
Scion,
The Birthday Party,
Neil Young,
Excepter,
Blake Baxter,
Minor Threat,
Cameo,
Darondo,
David Bowie,
Bill Wells,
Juan Atkins,
Lou Christie,
Soul Sonic Force,
Theoretical Girls,
Lindisfarne,
Henry Cow,
Quadrant,
Archie Shepp,
Matthew Bourne,
Ludus,
Gang Gang Dance,
Jeff Lynne,
Royal Trux,
The Gories,
Fugazi,
Duran Duran,
Tomorrow,
Jerry Gold Smith,
Isaac Hayes,
Reuben Wilson,
Orchestral Manoeuvres in the Dark,
Moby Grape,
The Seeds,
Marc Almond,
Lucky Dragons,
Parry Music, Parry Music, Parry Music, Parry Music.
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.