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 Qatar and from Lille.
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 1975.
I'm losing my edge.
To all the kids in Accra and London.
I'm losing my edge to the art-school Manchester 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Von Mondo to the techno 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 Ludus. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
KRS-One,
Connie Case,
Sight & Sound,
Blossom Toes,
Avey Tare's Slasher Flicks,
Model 500,
Theoretical Girls,
Second Layer,
Kerrie Biddell,
Rahsaan Roland Kirk,
Harry Pussy,
Ornette Coleman,
Deadbeat,
Sly & The Family Stone,
James Chance & The Contortions,
Teenage Jesus and the Jerks,
Spandau Ballet,
Flipper,
Alton Ellis,
Trumans Water,
Josef K,
the Human League,
The Beau Brummels,
Au Pairs,
Faust,
Orchestral Manoeuvres in the Dark,
Aswad,
Rekid,
Larry & the Blue Notes,
Peter and Kerry,
Cabaret Voltaire,
Selector Dub Narcotic,
Mars,
Radiohead,
Nils Olav,
Joey Negro,
Bootsy Collins,
The Cowsills,
Oneida,
Delon & Dalcan,
Popol Vuh,
Sixth Finger,
Minny Pops,
Gichy Dan,
Dawn Penn,
Lou Reed & Metallica,
Marshall Jefferson,
Yellowson,
Radiopuhelimet,
Cymande,
Essential Logic,
OOIOO,
The Gun Club,
Ponytail,
The Searchers,
Flash Fearless,
Youth Brigade,
The Barracudas,
The Residents,
Arthur Verocai,
Camberwell Now,
Mantronix,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.