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 Grenada and from Accra.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Delhi 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 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 Aloha Tigers to the funk kids.
I played it at the Crocodile.
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 Marine Girls. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Saccharine Trust 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
New Age Steppers,
The Pop Group,
Accadde A,
A Flock of Seagulls,
The Human League,
the Normal,
Kevin Saunderson,
T.S.O.L.,
Girls At Our Best!,
The Fugs,
Avey Tare,
Harry Pussy,
Delta 5,
Nick Cave & The Bad Seeds,
Moebius,
The Dave Clark Five,
Main Source,
Kayak,
Black Sheep,
Nils Olav,
The Alarm Clocks,
Pete Rock & C.L. Smooth,
Stockholm Monsters,
Robert Wyatt,
Larry & the Blue Notes,
Gong,
The Raincoats,
The Residents,
Ronan,
Funky Four + One,
Inner City,
Flamin' Groovies,
The Fortunes,
Los Fastidios,
Ornette Coleman,
Strawberry Alarm Clock,
Lou Reed,
Stetsasonic,
The Martian,
It's A Beautiful Day,
Bobbi Humphrey,
Kerri Chandler,
Marcia Griffiths,
Model 500,
Qualms,
The Moody Blues,
Todd Terry,
Althea and Donna,
ABC,
the Bar-Kays,
Toni Rubio,
The Gories,
R.M.O.,
Sonic Youth,
Shoche,
Dr. Dre and Snoop Doggy Dog,
Clear Light,
Bluetip,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.