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 Senegal and from Philadelphia.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Beijing and Manchester.
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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Jacob Miller to the disco kids.
I played it at the Spitz.
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 Robert Wyatt. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
This Heat,
Lizzy Mercier Descloux,
Sight & Sound,
Man Parrish,
DNA,
Wally Richardson,
Lakeside,
The Royal Family And The Poor,
Scott Walker,
Oneida,
H. Thieme,
Howard Jones,
Bobby Womack,
DeepChord presents Echospace,
Toni Rubio,
Bob Dylan,
Radiohead,
Los Fastidios,
Crispy Ambulance,
Sunsets and Hearts,
FM Einheit,
Gong,
Bobbi Humphrey,
Jesper Dahlbäck,
Black Moon,
Absolute Body Control,
The Gladiators,
Liaisons Dangereuses,
Joe Finger,
Rahsaan Roland Kirk,
Wings,
Scratch Acid,
The Doors,
Orchestral Manoeuvres in the Dark,
Reagan Youth,
Bobby Hutcherson,
The Buckinghams,
Sarah Menescal,
Heaven 17,
Arab on Radar,
Ten City,
Hot Snakes,
Eddi Front,
Whodini,
Saccharine Trust,
Nico,
The Skatalites,
Chris & Cosey,
Electric Light Orchestra,
Make Up,
Cecil Taylor,
Cymande,
Joe Smooth,
The Smiths,
Ronnie Foster,
Rotary Connection,
Gary Puckett & The Union Gap,
Buzzcocks,
Roxette,
Flipper,
The Happenings,
Altered Images, Altered Images, Altered Images, Altered Images.
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.