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 Netherlands and from Madrid.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Columbus and Manchester.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 The Divine Comedy to the electroclash 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 Zapp. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Index 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Blossom Toes,
Fela Kuti,
Ice-T,
Wally Richardson,
The Doors,
Yellowson,
Severed Heads,
Grandmaster Flash,
Visage,
Juan Atkins,
The Monks,
Swans,
Minutemen,
The Trojans,
Fear,
Guru Guru,
Marmalade,
Panda Bear,
Radiohead,
Barbara Tucker,
B.T. Express,
Rahsaan Roland Kirk,
The Saints,
Fifty Foot Hose,
Deadbeat,
Maleditus Sound,
Buzzcocks,
The Detroit Cobras,
Tom Boy,
Gil Scott Heron,
The Smiths,
Sight & Sound,
Tropical Tobacco,
Bob Dylan,
Von Mondo,
It's A Beautiful Day,
K-Klass,
Banda Bassotti,
The Associates,
Public Image Ltd.,
Lebanon Hanover,
Gichy Dan,
Matthew Halsall,
The Grass Roots,
Rites of Spring,
Ken Boothe,
Country Joe & The Fish,
KRS-One,
The Angels of Light,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Beau Brummels,
Cybotron,
Procol Harum,
Sällskapet,
The Mummies,
Bang on a Can All-Stars,
The Black Dice,
Jacques Brel,
Eric Dolphy,
Arab on Radar,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.