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 Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1977.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Cairo 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Delon & Dalcan to the techno kids.
I played it at Cafe Wha.
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 Kings Of Tomorrow. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Tropical Tobacco,
The Blues Magoos,
Kaleidoscope,
James Chance & The Contortions,
DJ Style,
Donny Hathaway,
Crispy Ambulance,
Heaven 17,
Flipper,
Dorothy Ashby,
Pole,
Gang Starr,
The Techniques,
Cal Tjader,
Porter Ricks,
Sight & Sound,
Man Parrish,
The Real Kids,
Harmonia,
Radiopuhelimet,
Marcia Griffiths,
Jeff Lynne,
Siglo XX,
Talk Talk,
Grandmaster Flash and the Furious Five,
Henry Cow,
Marshall Jefferson,
The Blackbyrds,
Tom Boy,
Throbbing Gristle,
Jacques Brel,
Shoche,
Soft Cell,
Alice Coltrane,
Piero Umiliani,
Ralphi Rosario,
Marmalade,
Soft Machine,
Al Stewart,
Marvin Gaye,
The Index,
JFA,
Ludus,
The Moleskins,
Ash Ra Tempel,
The Walker Brothers,
Warsaw,
Manfred Mann's Earth Band,
Von Mondo,
Stockholm Monsters,
Urselle,
Pete Rock & C.L. Smooth,
Art Ensemble Of Chicago,
Gabor Szabo,
Yusef Lateef,
The Selecter,
Peter & Gordon,
Sound Behaviour,
Sällskapet,
Cymande,
Kayak,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.