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 Philadelphia.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Calgary and Tokyo.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Cabaret Voltaire to the disco kids.
I played it at the Troubador.
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 Crime. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your marimba and bought an organ.
I hear that you and your band have sold your organ and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Sunsets and Hearts,
Fatback Band,
Magazine,
James White and The Blacks,
Ossler,
Neu!,
The Star Department,
Juan Atkins,
Country Joe & The Fish,
Soul Sonic Force,
Marine Girls,
Soft Cell,
LL Cool J,
Nils Olav,
Porter Ricks,
Maleditus Sound,
Jesper Dahlbäck,
The Slits,
David Axelrod,
Model 500,
Aaron Thompson,
The Martian,
10cc,
Country Teasers,
Soft Machine,
The Five Americans,
Roy Ayers,
Sonny Sharrock,
The Alarm Clocks,
Technova,
Cecil Taylor,
Eric Copeland,
Gary Puckett & The Union Gap,
Das Ding,
Tears for Fears,
Deakin,
the Fania All-Stars,
Mantronix,
Kas Product,
The Last Poets,
Suicide,
Scion,
Rosa Yemen,
Jesper Dahlback,
Fat Boys,
The Monochrome Set,
The Fuzztones,
Zero Boys,
Orchestral Manoeuvres in the Dark,
Organ,
Gil Scott-Heron & Brian Jackson,
Bob Dylan,
The Cosmic Jokers,
The New Christs,
Anthony Braxton,
Dark Day,
Anakelly,
Y Pants,
The Stooges,
Gichy Dan,
Los Fastidios,
Sun Ra Arkestra,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.