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 Benin and from Toronto.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Bologna 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 Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Gian Franco Pienzio to the punk kids.
I played it at the Spitz.
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 Pierre Henry. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Scrapy 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 '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Basic Channel,
Kool G Rap & DJ Polo,
Aaron Thompson,
Dave Gahan,
Röyhkä ja Rättö ja Lehtisalo,
The Tremeloes,
The Young Rascals,
The Slits,
Slave,
Graham Central Station,
Black Sheep,
Warsaw,
Joyce Sims,
The Trojans,
The Red Krayola,
The Moody Blues,
The Star Department,
The Happenings,
Bob Dylan,
The Detroit Cobras,
Heaven 17,
Vainqueur,
The Beau Brummels,
Gang of Four,
Sparks,
The Barracudas,
the Soft Cell,
Thompson Twins,
Cluster,
Parry Music,
Quando Quango,
Monks,
Chris & Cosey,
Lungfish,
Amon Düül,
Mars,
Pylon,
Man Eating Sloth,
Kerrie Biddell,
Sarah Menescal,
Sugar Minott,
Idris Muhammad,
Make Up,
Malaria!,
Terror Squad Feat. Camron,
Stiv Bators,
Arthur Verocai,
The Real Kids,
Super Lover Cee & Casanova Rud,
Wolf Eyes,
Peter & Gordon,
Brick,
Siouxsie and the Banshees,
Swell Maps,
Pere Ubu,
The Black Dice,
Matthew Halsall,
Kango’s Stein Massive,
Con Funk Shun,
Soulsonic Force,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.