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 Seoul.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Milan 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 synthesizer 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 Niagra to the grime kids.
I played it at the Hacienda.
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 Agent Orange. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Peter & Gordon 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 '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
The Dead C,
Byron Stingily,
Marc Almond,
X-101,
Little Man,
Warsaw,
The Fugs,
Peter and Kerry,
The Black Dice,
Selector Dub Narcotic,
Jerry's Kids,
R.M.O.,
Franke,
the Bar-Kays,
Shoche,
The Skatalites,
Ronnie Foster,
The Durutti Column,
The Sound,
Joe Finger,
Jimmy McGriff,
Gil Scott Heron,
Excepter,
Alice Coltrane,
Chris Corsano,
Fear,
The Doobie Brothers,
Sister Nancy,
The Neon Judgement,
Skriet,
Supertramp,
Boz Scaggs,
The Slackers,
Ultra Naté,
The Seeds,
Mark Hollis,
the Germs,
Outsiders,
Johnny Clarke,
Zapp,
Pantytec,
Monolake,
The Golliwogs,
Tropical Tobacco,
Ponytail,
Basic Channel,
Lebanon Hanover,
The Monochrome Set,
The United States of America,
Schoolly D,
Godley & Creme,
Heaven 17,
Audionom,
Justin Hinds & The Dominoes,
Sticky Fingaz feat. Raekwon,
Ajijia Myrayebe,
Vladislav Delay,
Black Flag,
The Fall,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.