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 Gabon and from Sao Paulo.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Beijing and Accra.
I'm losing my edge to the art-school Portland 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 Michael McDonald 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 Gil Scott Heron to the funk 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 World's Most. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Suicide record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Cecil Taylor,
The Skatalites,
Inner City,
Glambeats Corp.,
Suicide,
DeepChord presents Echospace,
The Durutti Column,
Strawberry Alarm Clock,
The Monochrome Set,
Little Man,
The Fuzztones,
Spoonie Gee,
Pharoah Sanders,
Erasure,
Joe Finger,
Henry Cow,
Robert Görl,
Nick Fraelich,
Country Joe & The Fish,
Gian Franco Pienzio,
Fatback Band,
Ornette Coleman,
Anakelly,
Peter and Kerry,
The Birthday Party,
Dave Gahan,
Kool G Rap & DJ Polo,
Terrestrial Tones,
Youth Brigade,
48th St. Collective,
Prince Buster,
Oppenheimer Analysis,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
The Slits,
Oneida,
Iggy Pop,
Arcadia,
John Holt,
Peter & Gordon,
Procol Harum,
Bobbi Humphrey,
Scan 7,
The Gories,
David Bowie,
Oblivians,
Massinfluence,
London Community Gospel Choir,
Crooked Eye,
Unwound,
Ronnie Foster,
The Toasters,
Groovy Waters,
Blancmange,
Roy Ayers Ubiquity,
Severed Heads,
The Happenings,
Echospace,
The Martian,
Lucky Dragons,
Soft Machine,
Ossler, Ossler, Ossler, Ossler.
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.