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 Kuwait and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1963 to 1976.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Lyon 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Half Japanese to the jazz kids.
I played it at the Roxy.
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 New Christs. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every a-ha 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
This Heat,
K-Klass,
Crispian St. Peters,
Talk Talk,
Ornette Coleman,
Marmalade,
Delon & Dalcan,
Joy Division,
Pet Shop Boys,
Tommy Roe,
Soft Machine,
Kerrie Biddell,
X-Ray Spex,
Groovy Waters,
Jeff Lynne,
Suicide,
Idris Muhammad,
the Bar-Kays,
The Monks,
Bauhaus,
Scott Walker,
U.S. Maple,
John Coltrane,
Popol Vuh,
Bad Manners,
The Knickerbockers,
Model 500,
Pole,
The Cramps,
Ronnie Foster,
Charles Mingus,
Laurel Aitken,
Alphaville,
New Age Steppers,
Brand Nubian,
Lalo Schifrin,
Bush Tetras,
Brass Construction,
Graham Central Station,
Mr. Review,
Warsaw,
Strawberry Alarm Clock,
Outsiders,
ABC,
Zero Boys,
Barclay James Harvest,
Beasts of Bourbon,
Bang on a Can All-Stars,
The Moody Blues,
Quadrant,
Agent Orange,
Thee Headcoats,
Manfred Mann's Earth Band,
Fear,
Minutemen,
Scion,
The Five Americans,
Alton Ellis,
T. Rex,
James Chance & The Contortions,
Kenny Larkin,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.