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 Iceland and from Accra.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Halifax and Halifax.
I'm losing my edge to the art-school Mumbai 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 güiro 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 Scan 7 to the rap 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 Vainqueur. All the underground hits.
All Avey Tare 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Mandrill,
The Birthday Party,
Erykah Badu,
Monks,
Sonny Sharrock,
Marine Girls,
Bauhaus,
Trumans Water,
Deakin,
Radio Birdman,
Thee Headcoats,
The Selecter,
Strawberry Alarm Clock,
The Five Americans,
The Gap Band,
cv313,
Marshall Jefferson,
Mark Hollis,
ABC,
Brand Nubian,
Stereo Dub,
Rotary Connection,
Ornette Coleman,
Mars,
Harry Pussy,
KRS-One,
June of 44,
Organ,
Maurizio,
Sly & The Family Stone,
Anakelly,
Gil Scott-Heron & Brian Jackson,
Quando Quango,
Barry Ungar,
Japan,
The Jesus and Mary Chain,
The Golliwogs,
the Soft Cell,
The Count Five,
John Lydon,
Schoolly D,
The Seeds,
Lebanon Hanover,
Fatback Band,
Connie Case,
Harpers Bizarre,
Camberwell Now,
Rekid,
Yusef Lateef,
K-Klass,
Rahsaan Roland Kirk,
Marc Almond,
Gian Franco Pienzio,
Fifty Foot Hose,
Groovy Waters,
Gang Gang Dance,
Easy Going,
CMW, CMW, CMW, CMW.
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.