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 Chile and from Johannesburg.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the sitar 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 Slave to the rap kids.
I played it at Trash.
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 Fortunes. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every The Misunderstood 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 '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Nik Kershaw,
Schoolly D,
Urselle,
The Sonics,
Pete Rock & C.L. Smooth,
Stiv Bators,
The Tremeloes,
Shuggie Otis,
The Monochrome Set,
Crime,
The Victims,
James White and The Blacks,
Terrestrial Tones,
Hardrive,
Kevin Saunderson,
Gichy Dan,
Babytalk,
Yazoo,
The Fall,
Derrick Morgan,
Marshall Jefferson,
Pharoah Sanders,
The Velvet Underground,
Kas Product,
The Divine Comedy,
Amon Düül II,
Groovy Waters,
Model 500,
Cybotron,
Rotary Connection,
Minutemen,
Carl Craig,
Ultra Naté,
Yellowson,
Cameo,
Blossom Toes,
The Red Krayola,
The Men They Couldn't Hang,
New Age Steppers,
Kool Moe Dee,
The Motions,
Infiniti,
Iggy Pop,
Suburban Knight,
Mars,
The Durutti Column,
Kool G Rap & DJ Polo,
Sonic Youth,
Roxy Music,
Sly & The Family Stone,
Art Ensemble Of Chicago,
The Buckinghams,
The Happenings,
Robert Hood,
Organ,
Erykah Badu,
Roy Ayers Ubiquity,
Panda Bear,
Technova,
Mark Hollis,
Section 25,
New York Dolls,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.