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 Romania and from Bologna.
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 1972.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Woodstock 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 organ 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 Kevin Saunderson to the dance kids.
I played it at the Crocodile.
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 Dave Clark Five. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Index 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Jesper Dahlback,
Funkadelic,
Ohio Players,
UT,
Banda Bassotti,
The Electric Prunes,
Los Fastidios,
Country Joe & The Fish,
The Doobie Brothers,
Anthony Braxton,
H. Thieme,
Kenny Larkin,
Tubeway Army,
Soul Sonic Force,
Fad Gadget,
Fifty Foot Hose,
Kool G Rap & DJ Polo,
48th St. Collective,
Bobby Womack,
Lindisfarne,
DNA,
Bootsy Collins,
Agitation Free,
the Slits,
Chris & Cosey,
Amon Düül,
Heavy D & The Boyz,
The Doors,
Dark Day,
Bluetip,
The Fire Engines,
cv313,
Monolake,
Lou Christie,
Donny Hathaway,
The Birthday Party,
Niagra,
FM Einheit,
The West Coast Pop Art Experimental Band,
The Sound,
Television,
Angels of Light & Akron/Family,
Barry Ungar,
Depeche Mode,
the Association,
Gastr Del Sol,
Electric Light Orchestra,
Ronnie Foster,
Kevin Saunderson,
Mad Mike,
Sly & The Family Stone,
Vainqueur,
Bizarre Inc.,
Kauko Röyhkä ja Narttu,
The Music Machine,
The Last Poets,
Rosa Yemen,
Drexciya,
Au Pairs,
The Busters,
The Skatalites,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.