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 Cameroon and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1978.
I'm losing my edge.
To all the kids in Accra and Milan.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Laurel Aitken to the grime 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 The Remains. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Franke,
Tommy Roe,
James White and The Blacks,
Young Marble Giants,
Public Image Ltd.,
Godley & Creme,
Pulsallama,
Stetsasonic,
Sound Behaviour,
Trumans Water,
Rahsaan Roland Kirk,
Con Funk Shun,
Ultimate Spinach,
Lightning Bolt,
CMW,
Urselle,
Ituana,
The Pop Group,
The Cosmic Jokers,
Eden Ahbez,
Goldenarms,
Mr. Review,
Black Moon,
The Happenings,
Flamin' Groovies,
Underground Resistance,
The Moleskins,
The Sisters of Mercy,
Motorama,
Charles Mingus,
Bad Manners,
Maleditus Sound,
Icehouse,
Masters at Work,
Ash Ra Tempel,
Roy Ayers Ubiquity,
Joensuu 1685,
Be Bop Deluxe,
Yaz,
Stiv Bators,
Bobby Hutcherson,
UT,
Eric Copeland,
Joe Smooth,
B.T. Express,
Justin Hinds & The Dominoes,
Derrick May,
Heavy D & The Boyz,
The Slackers,
Ronnie Foster,
Banda Bassotti,
Alton Ellis,
The Red Krayola,
Sonic Youth,
The Moody Blues,
Flash Fearless,
De La Soul & Jungle Brothers,
Boogie Down Productions,
The New Christs,
Subhumans,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.