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 Zambia and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Edmonton 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 808 sounds with much patience.
I was there when Nile Rodgers 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 the Swans to the techno kids.
I played it at Trash.
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 Spandau Ballet. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
The Toasters,
Lyres,
Bobby Womack,
Sparks,
Kerri Chandler,
Harry Pussy,
The Count Five,
Parry Music,
Cameo,
David McCallum,
Captain Beefheart & His Magic Band,
The Dead C,
Accadde A,
Cabaret Voltaire,
Stetsasonic,
Sun Ra,
Crooked Eye,
LL Cool J,
Alphaville,
Donald Byrd,
Terrestrial Tones,
A Certain Ratio,
Carl Craig,
Lou Reed,
FM Einheit,
Scott Walker + Sunn O))),
Siouxsie and the Banshees,
Kings Of Tomorrow,
June of 44,
Fluxion,
Terror Squad Feat. Camron,
Morten Harket,
10cc,
Deadbeat,
Drive Like Jehu,
Japan,
The Pop Group,
Charles Mingus,
Sly & The Family Stone,
R.M.O.,
The Shadows of Knight,
The Index,
Gil Scott-Heron and Jamie xx,
Oppenheimer Analysis,
Country Joe & The Fish,
Brick,
London Community Gospel Choir,
OOIOO,
Blake Baxter,
Jimmy McGriff,
Minutemen,
Black Bananas,
Spandau Ballet,
The Golliwogs,
B.T. Express,
Man Eating Sloth,
John Holt,
Jesper Dahlbäck,
DeepChord presents Echospace,
The Blues Magoos,
Ash Ra Tempel,
Wasted Youth,
Roy Ayers Ubiquity,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.