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 Australia and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Delhi 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 rhodes 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 Ludus to the techno kids.
I played it at the Astoria.
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 Stereo Dub. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every the Human League 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
LL Cool J,
Hot Snakes,
The Wake,
Jeff Lynne,
Second Layer,
Peter Gordon & Love of Life Orchestra,
Eddi Front,
Cheater Slicks,
the Bar-Kays,
Grandmaster Flash and the Furious Five,
Tommy Roe,
Drive Like Jehu,
Rosa Yemen,
Josef K,
Livin' Joy,
Cecil Taylor,
Wally Richardson,
The Pop Group,
Drexciya,
The Skatalites,
X-102,
Fluxion,
Amon Düül II,
Matthew Halsall,
Todd Rundgren,
Procol Harum,
Piero Umiliani,
Khruangbin,
The Invisible,
Blossom Toes,
The Leaves,
Soul Sonic Force,
Suicide,
De La Soul & Jungle Brothers,
Mo-Dettes,
The Misunderstood,
X-Ray Spex,
Bootsy Collins,
Tropical Tobacco,
Gabor Szabo,
The Zeros,
Toni Rubio,
Saccharine Trust,
Jesper Dahlback,
New York Dolls,
Ponytail,
Masters at Work,
Negative Approach,
Outsiders,
Kerrie Biddell,
The Detroit Cobras,
Lonnie Liston Smith,
Icehouse,
D'Angelo,
Soulsonic Force,
Infiniti,
Inner City,
The Fugs,
Porter Ricks,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.