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 Monaco 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 1962 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Yellowson to the jazz 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 Nico. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Harmonia,
Matthew Halsall,
The Jesus and Mary Chain,
These Immortal Souls,
Sound Behaviour,
The Barracudas,
Lee Hazlewood,
48th St. Collective,
Kas Product,
Carl Craig,
kango's stein massive,
Deakin,
Section 25,
The Pop Group,
Cal Tjader,
Chris Corsano,
Circle Jerks,
The Alarm Clocks,
Eden Ahbez,
Rahsaan Roland Kirk,
Heaven 17,
the Soft Cell,
Jacques Brel,
The Selecter,
Camron Feat. Jay Z And Juelz,
Glenn Branca,
Mars,
Minny Pops,
10cc,
T.S.O.L.,
Slave,
The Cowsills,
The Mummies,
The Martian,
Organ,
Kauko Röyhkä ja Narttu,
Girls At Our Best!,
Gary Puckett & The Union Gap,
Alice Coltrane,
Sticky Fingaz feat. Raekwon,
The Dave Clark Five,
The Gladiators,
Public Image Ltd.,
The Fortunes,
The Leaves,
Kings Of Tomorrow,
The Victims,
Man Parrish,
The Gun Club,
Audionom,
Japan,
Todd Rundgren,
Black Bananas,
Althea and Donna,
L. Decosne,
Matthew Bourne,
Pantaleimon,
Roy Ayers,
Art Ensemble Of Chicago,
The Detroit Cobras,
Suburban Knight,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.