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 Venezuela and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
I'm losing my edge to the art-school Delhi 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 oboe 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 Brass Construction to the dance 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 Vainqueur. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Khruangbin 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Sex Pistols,
Young Marble Giants,
Ronan,
The Moody Blues,
Pharaoh Sanders and the Fire Engines,
Delon & Dalcan,
China Crisis,
Amon Düül II,
Fear,
Echospace,
Henry Cow,
Erykah Badu,
The Blackbyrds,
The Fuzztones,
LL Cool J,
Lee Hazlewood,
Roy Ayers,
The Dead C,
Suicide,
Whodini,
Stiv Bators,
The Pretty Things,
This Heat,
Nas,
The Music Machine,
Quando Quango,
ABBA,
Barclay James Harvest,
Sad Lovers and Giants,
Aswad,
Bobby Sherman,
Matthew Bourne,
Eve St. Jones,
Ultravox,
Ponytail,
X-Ray Spex,
Pete Rock & C.L. Smooth,
Tears for Fears,
Lou Reed & John Cale,
Mark Hollis,
Skriet,
Letta Mbulu,
The Doors,
Guru Guru,
Unrelated Segments,
Symarip,
Joe Smooth,
Ituana,
Patti Smith,
Harpers Bizarre,
Crime,
Electric Light Orchestra,
Colin Newman,
Sixth Finger,
London Community Gospel Choir,
Cecil Taylor,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch 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.