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 Macedonia and from Spokane.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lyon and Houston.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Gary Puckett & The Union Gap to the crunk kids.
I played it at the Crocodile.
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 ABBA. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
the Swans,
Soft Machine,
Kenny Larkin,
Roy Ayers Ubiquity,
R.M.O.,
Stockholm Monsters,
PIL,
Crispy Ambulance,
Red Lorry Yellow Lorry,
Ken Boothe,
Mad Mike,
World's Most,
Trumans Water,
Johnny Clarke,
Radio Birdman,
Harpers Bizarre,
8 Eyed Spy,
The Moody Blues,
The Motions,
Marc Almond,
JFA,
Fad Gadget,
Cymande,
Robert Hood,
Half Japanese,
Gil Scott-Heron and Jamie xx,
Mary Jane Girls,
Gichy Dan,
Babytalk,
Minny Pops,
Delon & Dalcan,
The Pop Group,
Lou Reed,
Sonny Sharrock,
X-Ray Spex,
Moby Grape,
Marvin Gaye,
The Grass Roots,
Masters at Work,
Kevin Saunderson,
the Slits,
Minnie Riperton,
Toni Rubio,
Darondo,
The Seeds,
Boogie Down Productions,
Japan,
Bluetip,
Public Enemy,
Super Lover Cee & Casanova Rud,
Chris & Cosey,
Stereo Dub,
June of 44,
The Moleskins,
Pete Rock & C.L. Smooth,
Marine Girls,
Oblivians,
Model 500,
Desert Stars,
Blancmange, Blancmange, Blancmange, Blancmange.
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.