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 Malaysia and from Taipei.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Halifax.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 Oneida to the rock 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 Davy DMX. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Hashim 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Mantronix,
Shoche,
The Busters,
Derrick May,
Ultimate Spinach,
Supertramp,
Donny Hathaway,
David McCallum,
Flamin' Groovies,
Bobby Womack,
Bootsy Collins,
Andrew Ashong & Theo Parrish,
Avey Tare's Slasher Flicks,
Minnie Riperton,
Wings,
Wire,
Captain Beefheart & His Magic Band,
Absolute Body Control,
Black Moon,
Dennis Brown,
Popol Vuh,
The Residents,
Charles Mingus,
A Certain Ratio,
Orchestral Manoeuvres in the Dark,
Robert Wyatt,
Kas Product,
The Move,
Dave Gahan,
UT,
Jeru the Damaja,
Laurel Aitken,
Swans,
Make Up,
Subhumans,
The Happenings,
Roxette,
Röyhkä ja Rättö ja Lehtisalo,
Maurizio,
Soulsonic Force,
Anakelly,
Alison Limerick,
Niagra,
Blake Baxter,
Nation of Ulysses,
the Fania All-Stars,
Connie Case,
Justin Hinds & The Dominoes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bang On A Can,
Banda Bassotti,
Franke,
Cabaret Voltaire,
Stockholm Monsters,
The Doobie Brothers,
The American Breed,
Girls At Our Best!,
Stiv Bators,
Camberwell Now,
Yusef Lateef,
Todd Terry,
The Dirtbombs,
Average White Band, Average White Band, Average White Band, Average White Band.
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.