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 Rwanda and from Glasgow.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Seoul and Tokyo.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Yellowson to the grime 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 Erasure. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Mo-Dettes,
The Monks,
Supertramp,
Zero Boys,
Gregory Isaacs,
MC5,
Peter & Gordon,
Eyeless In Gaza,
Black Moon,
Girls At Our Best!,
Fat Boys,
Neil Young & Crazy Horse,
Soulsonic Force,
Parry Music,
Heavy D & The Boyz,
Cameo,
Chrome,
Peter and Kerry,
The Blackbyrds,
Crooked Eye,
Bob Dylan,
The Detroit Cobras,
Talk Talk,
Kauko Röyhkä ja Narttu,
Gong,
Wire,
Curtis Mayfield,
Stereo Dub,
Mary Jane Girls,
Crispian St. Peters,
Janne Schatter,
John Cale,
Wolf Eyes,
John Holt,
China Crisis,
Monks,
Lightning Bolt,
The Moody Blues,
One Last Wish,
Spandau Ballet,
Godley & Creme,
Joensuu 1685,
the Slits,
Jacob Miller,
Bobby Sherman,
Jimmy McGriff,
Bobby Byrd,
Bush Tetras,
Selector Dub Narcotic,
The Gap Band,
Boz Scaggs,
Moss Icon,
Magma,
Terry Callier,
Nick Cave & The Bad Seeds,
Notorious BIG live in Amsterdam,
Roxette,
ABBA,
Ash Ra Tempel,
Lou Reed & Metallica,
The Gories,
T. Rex, T. Rex, T. Rex, T. Rex.
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.