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 Tuvalu and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Madrid 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Soft Cell to the techno 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 Scrapy. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
EPMD,
The Fugs,
Terrestrial Tones,
Crooked Eye,
Alton Ellis,
Donny Hathaway,
Electric Light Orchestra,
Charles Mingus,
Bluetip,
Orchestral Manoeuvres in the Dark,
Infiniti,
Spandau Ballet,
Sarah Menescal,
Maleditus Sound,
Brand Nubian,
The Pop Group,
the Human League,
Kango’s Stein Massive,
The Electric Prunes,
The Dead C,
Roger Hodgson,
Dorothy Ashby,
Ituana,
Scott Walker,
Colin Newman,
Cymande,
Captain Beefheart & His Magic Band,
Scott Walker + Sunn O))),
The Doobie Brothers,
Throbbing Gristle,
The Seeds,
Joe Smooth,
Neil Young & Crazy Horse,
Absolute Body Control,
Godley & Creme,
Gang of Four,
Delon & Dalcan,
Pete Rock & C.L. Smooth,
Public Enemy,
Sight & Sound,
The New Christs,
Scion,
Barclay James Harvest,
Sällskapet,
Prince Buster,
Cameo,
Scientists,
Skarface,
Michelle Simonal,
Kerrie Biddell,
The Royal Family And The Poor,
Manfred Mann's Earth Band,
U.S. Maple,
James White and The Blacks,
Zapp,
The Young Rascals,
Nation of Ulysses,
Röyhkä ja Rättö ja Lehtisalo,
Delta 5,
Teenage Jesus and the Jerks,
Sparks, Sparks, Sparks, Sparks.
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.