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 Nigeria and from London.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
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 spring reverb 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 Fad Gadget to the funk kids.
I played it at the Spitz.
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 Popol Vuh. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal electroclash 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 a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Urselle,
Oneida,
Animal Collective,
Robert Hood,
The Names,
Howard Jones,
the Fania All-Stars,
Susan Cadogan,
Swans,
Ronan,
Lonnie Liston Smith,
Lower 48,
Tommy Roe,
Eddi Front,
Roxette,
PIL,
Cecil Taylor,
Young Marble Giants,
Peter & Gordon,
Roger Hodgson,
Lakeside,
Visage,
Soul Sonic Force,
Cal Tjader,
the Slits,
Electric Light Orchestra,
Kenny Larkin,
Aaron Thompson,
Bill Wells,
Joensuu 1685,
The Gap Band,
Marine Girls,
Joy Division,
Graham Central Station,
Charles Mingus,
Minor Threat,
Lou Reed & John Cale,
R.M.O.,
Oblivians,
Ponytail,
James Chance & The Contortions,
Sun City Girls,
The Fugs,
Morten Harket,
Anthony Braxton,
Eric B and Rakim,
Public Enemy,
Jandek,
Angels of Light & Akron/Family,
Wighnomy Brothers & Robag Wruhme,
Arcadia,
Section 25,
The Cowsills,
Delon & Dalcan,
Malaria!,
Tomorrow,
Lucky Dragons,
The Angels of Light,
Wings,
Q and Not U,
U.S. Maple,
Barrington Levy,
David McCallum, David McCallum, David McCallum, David McCallum.
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.