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 Israel and from Mexico City.
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 1977.
I'm losing my edge.
To all the kids in Houston and Houston.
I'm losing my edge to the art-school Johannesburg 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Thee Headcoats to the dance kids.
I played it at the Roxy.
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 Sexual Harrassment. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
Peter Gordon & Love of Life Orchestra,
Soft Cell,
10cc,
James Chance & The Contortions,
Tom Boy,
Urselle,
Don Cherry,
Kool G Rap & DJ Polo,
Monks,
Dark Day,
Dual Sessions,
Johnny Clarke,
Gastr Del Sol,
The Neon Judgement,
Stetsasonic,
Robert Wyatt,
Fear,
Terrestrial Tones,
the Bar-Kays,
The United States of America,
Scan 7,
Roy Ayers,
Groovy Waters,
Symarip,
Radiopuhelimet,
Niagra,
Juan Atkins,
Wire,
Roxette,
The Detroit Cobras,
Andrew Hill,
The Remains,
ABC,
The Saints,
Gian Franco Pienzio,
Ajijia Myrayebe,
Aswad,
The Black Dice,
MC5,
Country Joe & The Fish,
Warren Ellis,
Arab on Radar,
Shuggie Otis,
Yusef Lateef,
Scion,
Lalann,
Buzzcocks,
Icehouse,
Jesper Dahlback,
The Fall,
Oblivians,
Gil Scott Heron,
Marc Almond,
D'Angelo,
The Buckinghams,
Banda Bassotti,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bob Dylan,
The J.B.'s,
Organ,
Lou Reed & Metallica,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.