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 Jamaica and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Woodstock and London.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer 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 The Beau Brummels to the rap 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 Rufus Thomas. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Lebanon Hanover 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Skaos,
Alice Coltrane,
the Bar-Kays,
Sight & Sound,
Donny Hathaway,
David Axelrod,
Unwound,
Howard Jones,
Kas Product,
The Moleskins,
Bad Manners,
Colin Newman,
Man Eating Sloth,
The Mighty Diamonds,
Lou Reed,
Magazine,
Young Marble Giants,
Alphaville,
Deadbeat,
Peter Gordon & Love of Life Orchestra,
Morten Harket,
David McCallum,
Smog,
Von Mondo,
Grauzone,
Angels of Light & Akron/Family,
The Red Krayola,
Letta Mbulu,
Gian Franco Pienzio,
Hardrive,
Nation of Ulysses,
Gerry Rafferty,
Lonnie Liston Smith,
Hashim,
Swell Maps,
Fort Wilson Riot,
Index,
Sun City Girls,
John Holt,
Ultra Naté,
The Offenders,
Eyeless In Gaza,
Deepchord,
Ituana,
Interpol,
the Soft Cell,
The Fall,
Ralphi Rosario,
the Slits,
Jesper Dahlback,
Selector Dub Narcotic,
The Monks,
Lizzy Mercier Descloux,
Slick Rick,
Ultimate Spinach,
The Victims,
Boz Scaggs,
Essential Logic,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.