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 Bahrain and from Accra.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Copenhagen 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 808 sounds with much patience.
I was there when Holger Czukay 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 Mary Jane Girls to the rap 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 Make Up. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Von Mondo,
Procol Harum,
Sonny Sharrock,
Inner City,
Organ,
The Neon Judgement,
K-Klass,
the Fania All-Stars,
The Pop Group,
Dual Sessions,
Andrew Ashong & Theo Parrish,
The Zeros,
Audionom,
Sarah Menescal,
Art Ensemble Of Chicago,
Jeff Lynne,
Barclay James Harvest,
Gerry Rafferty,
Agent Orange,
Robert Wyatt,
Ituana,
In Retrospect,
Shuggie Otis,
Groovy Waters,
Jerry's Kids,
The Monks,
Warren Ellis,
The Barracudas,
Nico,
Steve Hackett,
Kaleidoscope,
Delta 5,
Bob Dylan,
The Mummies,
Derrick Morgan,
Röyhkä ja Rättö ja Lehtisalo,
LL Cool J,
Eric B and Rakim,
Ken Boothe,
Bang On A Can,
Louis and Bebe Barron,
Dark Day,
Blake Baxter,
Hasil Adkins,
Lalo Schifrin,
Spoonie Gee,
Rhythm & Sound,
Icehouse,
Vladislav Delay,
Aaron Thompson,
Clear Light,
Grauzone,
Whodini,
The Velvet Underground,
Zero Boys,
B.T. Express,
Eyeless In Gaza,
Gabor Szabo,
Thee Headcoats,
Roy Ayers Ubiquity,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.