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 Colombia and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1972.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Cairo 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 sitar 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 DeepChord presents Echospace to the grime kids.
I played it at the Troubador.
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 The Mummies. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Pole,
The Selecter,
Soul II Soul,
Flash Fearless,
Ponytail,
Country Joe & The Fish,
UT,
Camouflage,
Model 500,
Eddi Front,
Ituana,
The Offenders,
Zero Boys,
The Count Five,
Joy Division,
The Electric Prunes,
Yusef Lateef,
Negative Approach,
Matthew Halsall,
The Gories,
The Mojo Men,
Echo & the Bunnymen,
Infiniti,
Glenn Branca,
Unrelated Segments,
Funky Four + One,
Pantytec,
The Litter,
Sly & The Family Stone,
Subhumans,
the Slits,
Magma,
Tom Boy,
Sparks,
F. McDonald,
Essential Logic,
Sunsets and Hearts,
Kevin Saunderson,
Siglo XX,
Crime,
Kango’s Stein Massive,
the Soft Cell,
Organ,
Stiv Bators,
Soulsonic Force,
DJ Style,
The Gladiators,
Roxette,
Jacques Brel,
Scion,
Scott Walker + Sunn O))),
Y Pants,
The Fortunes,
Laurel Aitken,
Kas Product,
Buzzcocks,
T. Rex,
cv313,
The Velvet Underground,
Johnny Osbourne,
Faust,
Supertramp,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.