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 Haiti and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Beijing and Glasgow.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 The Invisible to the punk kids.
I played it at the Troubador.
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 Selecter. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Underground Resistance,
Ken Boothe,
Alice Coltrane,
Orchestral Manoeuvres in the Dark,
Nas,
Icehouse,
Magma,
Sam Rivers,
The Fortunes,
The Music Machine,
Peter and Kerry,
Dennis Brown,
Ossler,
Little Man,
Mary Jane Girls,
Connie Case,
Unwound,
Monolake,
The Searchers,
La Düsseldorf,
Soul Sonic Force,
Ronnie Foster,
Stereo Dub,
The Vogues,
London Community Gospel Choir,
Animal Collective,
Kango’s Stein Massive,
Mantronix,
The Busters,
Man Eating Sloth,
The Blackbyrds,
Roy Ayers,
Lafayette Afro Rock Band,
Surgeon,
Ultramagnetic MC's,
Bob Dylan,
Pantaleimon,
Suburban Knight,
Jeru the Damaja,
Soft Cell,
James White and The Blacks,
Blancmange,
Susan Cadogan,
Boz Scaggs,
Lizzy Mercier Descloux,
Minutemen,
Groovy Waters,
The Moleskins,
Electric Light Orchestra,
Tropical Tobacco,
Marvin Gaye,
Glenn Branca,
Agitation Free,
Sight & Sound,
The Names,
Deutsch Amerikanische Freundschaft,
Cybotron,
The Mighty Diamonds,
Be Bop Deluxe,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.