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 Bosnia Herzegovina and from Manchester.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Milan 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 Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 Joensuu 1685 to the rap kids.
I played it at CBGB's.
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 Rakim. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Babytalk record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
The Slackers,
Eric B and Rakim,
Buzzcocks,
Fat Boys,
Black Pus,
Audionom,
Alphaville,
Sunsets and Hearts,
Ossler,
Fad Gadget,
Mr. Review,
Radiopuhelimet,
Stetsasonic,
Flash Fearless,
The Pop Group,
Qualms,
The Beau Brummels,
ABBA,
The Litter,
Pussy Galore,
Kango’s Stein Massive,
In Retrospect,
Ten City,
Sixth Finger,
Eve St. Jones,
The Offenders,
Tears for Fears,
Johnny Clarke,
The Monks,
Excepter,
Section 25,
Massinfluence,
The Gories,
John Coltrane,
The Kinks,
The Selecter,
Susan Cadogan,
Ornette Coleman,
Skriet,
Thee Headcoats,
Stockholm Monsters,
Rhythim Is Rhythim,
Peter and Kerry,
Traffic Nightmare,
Terror Squad Feat. Camron,
The Dirtbombs,
Maurizio,
the Swans,
Gastr Del Sol,
Peter Gordon & Love of Life Orchestra,
Pierre Henry,
Rosa Yemen,
Pet Shop Boys,
Gong,
Siglo XX,
Ajijia Myrayebe,
Black Moon,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.