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 San Marino and from Lille.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
I'm losing my edge to the art-school London 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Negative Approach to the jazz kids.
I played it at CBGB's.
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 Clear Light. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Groovy Waters,
Brick,
Dorothy Ashby,
a-ha,
Magma,
Vladislav Delay,
Jeff Mills,
Theoretical Girls,
Leonard Cohen,
Brass Construction,
Interpol,
Joey Negro,
Swell Maps,
Sun Ra Arkestra,
10cc,
Drive Like Jehu,
Althea and Donna,
Monks,
The Black Dice,
Wolf Eyes,
Nik Kershaw,
the Fania All-Stars,
Thee Headcoats,
Gil Scott-Heron & Brian Jackson,
Negative Approach,
Ash Ra Tempel,
Al Stewart,
Bobby Byrd,
Crime,
The Flesh Eaters,
Dennis Brown,
Hoover,
Thinking Fellers Union Local 282,
The Toasters,
Lou Reed & Metallica,
London Community Gospel Choir,
Neil Young,
E-Dancer,
Average White Band,
Little Man,
Cal Tjader,
Shoche,
Heaven 17,
David McCallum,
Scion,
The Dirtbombs,
48th St. Collective,
Vaughan Mason & Crew,
Jesper Dahlbäck,
Clear Light,
Terry Callier,
Bauhaus,
Japan,
Underground Resistance,
Rufus Thomas,
Television Personalities,
Eric B and Rakim,
Quadrant,
Drexciya,
DJ Style,
F. McDonald,
Sound Behaviour,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.