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 Mexico and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1970.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Glasgow 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Matthew Bourne 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 Faraquet. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Crime,
Lower 48,
London Community Gospel Choir,
Siouxsie and the Banshees,
Eric B and Rakim,
Basic Channel,
Tres Demented,
De La Soul & Jungle Brothers,
Marvin Gaye,
Delon & Dalcan,
Janne Schatter,
John Lydon,
Ossler,
Soulsonic Force,
The Grass Roots,
Ludus,
Man Eating Sloth,
Joyce Sims,
Judy Mowatt,
Moby Grape,
Ralphi Rosario,
Sparks,
Beasts of Bourbon,
The Pop Group,
Absolute Body Control,
Rhythm & Sound,
Dawn Penn,
La Düsseldorf,
Massinfluence,
Glenn Branca,
Animal Collective,
Yusef Lateef,
Deadbeat,
Lou Reed,
Siglo XX,
Marshall Jefferson,
Young Marble Giants,
New Order,
the Germs,
The American Breed,
Delta 5,
Gerry Rafferty,
Gichy Dan,
The Shadows of Knight,
Royal Trux,
The Buckinghams,
Second Layer,
The Cosmic Jokers,
A Certain Ratio,
Moebius,
Andrew Ashong & Theo Parrish,
Hot Snakes,
Jacob Miller,
Rowland S Howard / Lydia Lunch,
Eddi Front,
Ash Ra Tempel,
Roy Ayers,
Scratch Acid,
The Royal Family And The Poor,
Prince Buster,
Public Image Ltd.,
the Normal, the Normal, the Normal, the Normal.
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.