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 Latvia and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Glasgow 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Doobie Brothers to the jazz 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 Marcia Griffiths. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Sight & Sound,
James Chance & The Contortions,
Fatback Band,
Lonnie Liston Smith,
Bauhaus,
Ajijia Myrayebe,
Sällskapet,
Faust,
Brothers Johnson,
Man Eating Sloth,
Thompson Twins,
Whodini,
Bill Wells,
Kings Of Tomorrow,
Lalann,
Jacques Brel,
The Music Machine,
Bobby Byrd,
Notorious BIG live in Amsterdam,
Rosa Yemen,
Smog,
Barbara Tucker,
the Human League,
Slick Rick,
Minny Pops,
The United States of America,
Laurel Aitken,
Gil Scott-Heron and Jamie xx,
the Normal,
KRS-One,
Liaisons Dangereuses,
The Shadows of Knight,
The Saints,
The Cramps,
China Crisis,
Delta 5,
David McCallum,
Neu!,
FM Einheit,
The Mummies,
Hoover,
Groovy Waters,
Sunsets and Hearts,
Zero Boys,
Curtis Mayfield,
Heaven 17,
Yazoo,
L. Decosne,
Todd Rundgren,
X-102,
Orchestral Manoeuvres in the Dark,
Strawberry Alarm Clock,
It's A Beautiful Day,
Erasure,
Joe Smooth,
Stockholm Monsters,
Altered Images,
Q and Not U,
Desert Stars,
Crash Course in Science,
Grandmaster Flash and the Furious Five,
Slave, Slave, Slave, Slave.
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.