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 Cambodia and from Milan.
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 1970.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Beijing 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 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 Mark Hollis to the punk kids.
I played it at Cafe Wha.
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 Janne Schatter. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Super Lover Cee & Casanova Rud,
L. Decosne,
Deepchord,
The Index,
Rosa Yemen,
Main Source,
Marcia Griffiths,
Erasure,
Aloha Tigers,
Ultimate Spinach,
Jesper Dahlback,
Sam Rivers,
Gang Gang Dance,
The Buckinghams,
Von Mondo,
The Last Poets,
Tubeway Army,
Alphaville,
Crime,
T.S.O.L.,
Eric B and Rakim,
Ken Boothe,
The Beau Brummels,
Unrelated Segments,
Bang On A Can,
The Durutti Column,
Maleditus Sound,
Notorious BIG live in Amsterdam,
The Jesus and Mary Chain,
Excepter,
Magazine,
The Pop Group,
Laurel Aitken,
Skaos,
The Happenings,
The Tremeloes,
Gang Starr,
Agitation Free,
the Normal,
Ituana,
The Monks,
Soulsonic Force,
The Detroit Cobras,
Shuggie Otis,
Godley & Creme,
Sonny Sharrock,
This Heat,
Altered Images,
Animal Collective,
Be Bop Deluxe,
The Gladiators,
Traffic Nightmare,
Bobby Byrd,
Aswad,
Gil Scott Heron,
The Evens,
The Leaves,
Inner City,
Eve St. Jones,
Cheater Slicks,
Fluxion,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.