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 Somalia and from Bologna.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school London 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Steve Hackett 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 Mars. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every John Coltrane 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Peter and Kerry,
KRS-One,
Max Romeo,
Robert Görl,
Harpers Bizarre,
Red Lorry Yellow Lorry,
Gang Starr,
It's A Beautiful Day,
Ten City,
Josef K,
Goldenarms,
Bobby Hutcherson,
Larry & the Blue Notes,
Urselle,
Ken Boothe,
Major Organ And The Adding Machine,
Surgeon,
The Red Krayola,
Blake Baxter,
Radiohead,
China Crisis,
the Slits,
Derrick Morgan,
Dorothy Ashby,
The Last Poets,
8 Eyed Spy,
Technova,
Marshall Jefferson,
Inner City,
Joey Negro,
The Men They Couldn't Hang,
Wolf Eyes,
The Durutti Column,
Sonic Youth,
Jeff Lynne,
Big Daddy Kane,
Main Source,
Brick,
The Grass Roots,
Freddie Wadling,
Thompson Twins,
Robert Wyatt,
The Busters,
Smog,
Maleditus Sound,
Hoover,
The Young Rascals,
The Velvet Underground,
Shuggie Otis,
Deakin,
Fort Wilson Riot,
The Gun Club,
Jeru the Damaja,
Sound Behaviour,
Nils Olav,
Connie Case,
Albert Ayler,
Suburban Knight,
Avey Tare & Kría Brekkan,
Crime,
X-102, X-102, X-102, X-102.
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.