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 Madagascar and from Toronto.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Paris 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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Wings to the punk kids.
I played it at Cafe Wha.
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 Sight & Sound. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Ultra Naté,
Orchestral Manoeuvres in the Dark,
Chrome,
Erasure,
Jacques Brel,
Lightning Bolt,
U.S. Maple,
The Fall,
Urselle,
Bill Wells,
The Gap Band,
Adolescents,
Dennis Brown,
Jacob Miller,
Derrick May,
Nirvana,
Crispian St. Peters,
Avey Tare's Slasher Flicks,
Ornette Coleman,
Lou Christie,
Colin Newman,
These Immortal Souls,
The Young Rascals,
David Axelrod,
Magazine,
Talk Talk,
Juan Atkins,
The Durutti Column,
John Foxx,
Nation of Ulysses,
Yellowson,
Cluster,
Black Bananas,
Anakelly,
The Cure,
The Misunderstood,
The Buckinghams,
DeepChord presents Echospace,
Pantytec,
The Index,
Suicide,
Zero Boys,
The Moleskins,
Arcadia,
The American Breed,
Cameo,
One Last Wish,
Matthew Halsall,
Scientists,
Pagans,
Moebius,
Second Layer,
Brass Construction,
Heaven 17,
Josef K,
Davy DMX,
Donny Hathaway,
Tres Demented,
Tom Boy,
Eric B and Rakim,
Kango’s Stein Massive,
Max Romeo,
Maurizio, Maurizio, Maurizio, Maurizio.
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.