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 Costa Rica and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Lille 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 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 Tres Demented to the punk 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 Jacques Brel. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Eric B and Rakim 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Au Pairs,
Can,
Gil Scott-Heron and Jamie xx,
Lightning Bolt,
Eve St. Jones,
8 Eyed Spy,
The Cowsills,
Ituana,
The Wake,
Kayak,
Organ,
Patti Smith,
Ronan,
Eric Copeland,
Qualms,
Nick Cave & The Bad Seeds,
Dorothy Ashby,
Bill Wells,
Sexual Harrassment,
Albert Ayler,
Spandau Ballet,
Ten City,
48th St. Collective,
New Order,
Roy Ayers Ubiquity,
John Holt,
Donny Hathaway,
The Victims,
Joey Negro,
Super Lover Cee & Casanova Rud,
The Slits,
Gichy Dan,
kango's stein massive,
Rowland S Howard / Lydia Lunch,
K-Klass,
the Bar-Kays,
The Smoke,
Unwound,
Sun Ra,
Dual Sessions,
Jeff Lynne,
The Slackers,
The Velvet Underground,
Terrestrial Tones,
Andrew Hill,
Max Romeo,
Technova,
Nas,
Unrelated Segments,
KRS-One,
Leonard Cohen,
The Beau Brummels,
Average White Band,
Charles Mingus,
It's A Beautiful Day,
Matthew Halsall,
Nik Kershaw,
Röyhkä ja Rättö ja Lehtisalo,
Peter & Gordon,
Excepter,
Theoretical Girls,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.