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 Paraguay and from Manila.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Bremen 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 theremin sounds with much patience.
I was there when Robert Palmer 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 48th St. Collective 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 Yaz. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno 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 a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
In Retrospect,
Thompson Twins,
Underground Resistance,
Ronnie Foster,
PIL,
Ludus,
Man Parrish,
Roxy Music,
The Names,
Blancmange,
Sticky Fingaz feat. Raekwon,
The Cramps,
Scratch Acid,
Audionom,
Ice-T,
Johnny Osbourne,
U.S. Maple,
The Monochrome Set,
the Normal,
The Slackers,
Pharaoh Sanders and the Fire Engines,
Clear Light,
Simply Red,
Drive Like Jehu,
Neil Young & Crazy Horse,
Moss Icon,
World's Most,
Sight & Sound,
Peter & Gordon,
The Evens,
Rites of Spring,
Pere Ubu,
The Slits,
LL Cool J,
The Selecter,
the Fania All-Stars,
Scott Walker,
Outsiders,
Tres Demented,
The Stooges,
Qualms,
Bobby Hutcherson,
Guru Guru,
Maleditus Sound,
Alice Coltrane,
The Gories,
The Dave Clark Five,
Ash Ra Tempel,
The Remains,
These Immortal Souls,
Saccharine Trust,
UT,
Monks,
Model 500,
Hashim,
Niagra,
Alison Limerick,
Main Source,
Los Fastidios,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.