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 Burundi and from New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Columbus 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Faraquet to the jazz kids.
I played it at the Hacienda.
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 Procol Harum. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Massinfluence record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reagan Youth,
Manfred Mann's Earth Band,
Icehouse,
Royal Trux,
Susan Cadogan,
Kevin Saunderson,
The Divine Comedy,
Dark Day,
Eric B and Rakim,
Peter & Gordon,
Audionom,
R.M.O.,
Shuggie Otis,
Al Stewart,
Brick,
Dorothy Ashby,
Howard Jones,
Black Moon,
Kool G Rap & DJ Polo,
Fela Kuti,
Soft Cell,
Desert Stars,
The Zeros,
Man Parrish,
Alphaville,
X-102,
The Chocolate Watch Band,
Harpers Bizarre,
Buzzcocks,
Gil Scott Heron,
It's A Beautiful Day,
Wighnomy Brothers & Robag Wruhme,
Idris Muhammad,
The Fall,
Radio Birdman,
Gastr Del Sol,
John Holt,
Bill Near,
Hashim,
Delta 5,
Gang Green,
Beasts of Bourbon,
The Fuzztones,
Ronan,
The Fire Engines,
The Sound,
Lou Reed & Metallica,
The Sonics,
The United States of America,
Avey Tare's Slasher Flicks,
Mary Jane Girls,
The Associates,
Lungfish,
Sonny Sharrock,
Duran Duran,
the Human League,
Soul II Soul,
Easy Going,
Thee Headcoats,
Mo-Dettes,
Cluster,
Ornette Coleman,
A Certain Ratio,
the Association, the Association, the Association, the Association.
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.