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 San Marino and from Stockholm.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Taipei 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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Ossler to the funk kids.
I played it at the Crocodile.
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 Bauhaus. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal dance 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Kayak,
K-Klass,
Surgeon,
Trumans Water,
Mark Hollis,
Throbbing Gristle,
Funkadelic,
Sly & The Family Stone,
Parry Music,
Lee Hazlewood,
Crooked Eye,
Dead Boys,
Skaos,
Funky Four + One,
Morten Harket,
David Axelrod,
June of 44,
Jesper Dahlback,
Severed Heads,
Wally Richardson,
Ohio Players,
Nick Fraelich,
Cymande,
The Slackers,
Mo-Dettes,
Malaria!,
The Gun Club,
Cal Tjader,
Hashim,
Arab on Radar,
Sun Ra Arkestra,
La Düsseldorf,
Reuben Wilson,
Quadrant,
Monks,
Gastr Del Sol,
These Immortal Souls,
Gil Scott-Heron and Jamie xx,
The Smoke,
Soft Cell,
The Tremeloes,
Kerri Chandler,
Kenny Larkin,
DJ Style,
Althea and Donna,
Los Fastidios,
Roxette,
The Trojans,
Lonnie Liston Smith,
The Gap Band,
UT,
Rhythim Is Rhythim,
Ornette Coleman,
Barclay James Harvest,
H. Thieme,
the Fania All-Stars,
The Real Kids,
EPMD,
Inner City, Inner City, Inner City, Inner City.
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.