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 Ethiopia and from Madrid.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Manchester and Seoul.
I'm losing my edge to the art-school Manchester 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Cameo to the grime 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 Slave. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
The Divine Comedy,
The Moody Blues,
Cal Tjader,
Lonnie Liston Smith,
Hashim,
David Bowie,
Kauko Röyhkä ja Narttu,
The Electric Prunes,
Tom Boy,
Los Fastidios,
MDC,
Godley & Creme,
Lizzy Mercier Descloux,
Section 25,
Mars,
Gil Scott-Heron and Jamie xx,
Masters at Work,
Con Funk Shun,
Pierre Henry,
The Standells,
Jesper Dahlbäck,
Outsiders,
Steve Hackett,
Royal Trux,
Adolescents,
Chris Corsano,
Henry Cow,
Don Cherry,
Ronnie Foster,
Orchestral Manoeuvres in the Dark,
The Modern Lovers,
Sarah Menescal,
Archie Shepp,
DeepChord presents Echospace,
Altered Images,
Chris & Cosey,
Althea and Donna,
Hardrive,
DJ Sneak,
Louis and Bebe Barron,
Thinking Fellers Union Local 282,
Gang Green,
Pharoah Sanders,
Alice Coltrane,
Cymande,
Nick Fraelich,
Camberwell Now,
Idris Muhammad,
Alphaville,
China Crisis,
Derrick May,
Robert Hood,
Johnny Osbourne,
Mantronix,
Aaron Thompson,
Drive Like Jehu,
The Pretty Things,
Echospace,
Judy Mowatt,
Scrapy,
The Count Five,
Delta 5,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.