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 Tonga and from Portland.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
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 harpsichord 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 Johnny Clarke to the grime 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 Archie Shepp. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal punk 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 a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
E-Dancer,
Rhythm & Sound,
The J.B.'s,
The Sisters of Mercy,
Ten City,
Massinfluence,
Roxette,
Mantronix,
Gil Scott-Heron and Jamie xx,
The Royal Family And The Poor,
Thompson Twins,
Hardrive,
Rowland S Howard / Lydia Lunch,
Barclay James Harvest,
Suburban Knight,
Ultra Naté,
Lebanon Hanover,
Intrusion,
The Mojo Men,
Supertramp,
Aural Exciters,
Soft Cell,
Frankie Knuckles,
John Foxx,
The Searchers,
Kerrie Biddell,
Kevin Saunderson,
Slick Rick,
Selector Dub Narcotic,
Motorama,
Funkadelic,
Blancmange,
Radiohead,
Neil Young,
Kango’s Stein Massive,
U.S. Maple,
Camberwell Now,
the Germs,
Glenn Branca,
Gian Franco Pienzio,
Tres Demented,
ABBA,
Soulsonic Force,
Pierre Henry,
The Techniques,
Index,
Dennis Brown,
Magazine,
Stockholm Monsters,
Banda Bassotti,
Johnny Clarke,
Monks,
Mandrill,
Jeru the Damaja,
These Immortal Souls,
Grandmaster Flash,
The Monks,
Eurythmics,
New York Dolls,
the Bar-Kays,
The Slits, The Slits, The Slits, The Slits.
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.