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 Kuwait and from Stockholm.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 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 Dual Sessions to the disco kids.
I played it at the Astoria.
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 Robert Hood. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Red Lorry Yellow Lorry,
Unrelated Segments,
Eve St. Jones,
Cymande,
Colin Newman,
Bluetip,
Kas Product,
The Blackbyrds,
The Fire Engines,
Lalo Schifrin,
Liaisons Dangereuses,
Cecil Taylor,
Reagan Youth,
Notorious Big And Bone Thugs,
Frankie Knuckles,
Yazoo,
Mad Mike,
Danielle Patucci,
Eurythmics,
Tropical Tobacco,
Röyhkä ja Rättö ja Lehtisalo,
cv313,
Basic Channel,
Godley & Creme,
The Black Dice,
DJ Sneak,
Kaleidoscope,
Interpol,
Anthony Braxton,
Young Marble Giants,
Ronnie Foster,
DeepChord presents Echospace,
ABC,
Amon Düül,
Sonny Sharrock,
Wally Richardson,
Mission of Burma,
Crispian St. Peters,
Inner City,
The New Christs,
Anakelly,
the Swans,
Scan 7,
Quantec,
Man Parrish,
Massinfluence,
T.S.O.L.,
The Mojo Men,
Soft Cell,
The Gun Club,
Procol Harum,
Leonard Cohen,
Wasted Youth,
ABBA,
Bronski Beat,
The Five Americans,
Rahsaan Roland Kirk,
Kenny Larkin,
D'Angelo,
The Standells, The Standells, The Standells, The Standells.
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.