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 Algeria and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Accra and Milan.
I'm losing my edge to the art-school Lagos 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Subhumans to the funk kids.
I played it at the 40 Watt.
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 West Coast Pop Art Experimental Band. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Liaisons Dangereuses,
Kango’s Stein Massive,
Lightning Bolt,
The Dead C,
Pharoah Sanders,
John Coltrane,
Spoonie Gee,
Hardrive,
PIL,
AZ,
Junior Murvin,
Jeff Lynne,
Sun Ra Arkestra,
T. Rex,
Average White Band,
Tom Boy,
Art Ensemble Of Chicago,
The Techniques,
X-Ray Spex,
Fatback Band,
Subhumans,
This Heat,
Gil Scott Heron,
EPMD,
The Mummies,
The Real Kids,
The Leaves,
Black Sheep,
Goldenarms,
Depeche Mode,
Eric Dolphy,
Kayak,
Aloha Tigers,
Kauko Röyhkä ja Narttu,
Kerrie Biddell,
Jeff Mills,
Lonnie Liston Smith,
Pharaoh Sanders and the Fire Engines,
Mars,
Marshall Jefferson,
Pierre Henry,
DJ Style,
Bang on a Can All-Stars,
Technova,
Vainqueur,
Fort Wilson Riot,
James Chance & The Contortions,
The Electric Prunes,
Dawn Penn,
The Standells,
Animal Collective,
Pantytec,
Henry Cow,
Jacques Brel,
Beasts of Bourbon,
Slave,
Zapp,
The Victims,
Sparks,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane 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.