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 Turkey and from Bremen.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when David Bowie 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 Wally Richardson to the jazz kids.
I played it at the Astoria.
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 The Chocolate Watch Band. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Rapeman,
Bobbi Humphrey,
Underground Resistance,
Peter & Gordon,
It's A Beautiful Day,
Dawn Penn,
Connie Case,
Dual Sessions,
Art Ensemble Of Chicago,
Oppenheimer Analysis,
Terrestrial Tones,
Roy Ayers,
Rufus Thomas,
Eve St. Jones,
Angels of Light & Akron/Family,
Roy Ayers Ubiquity,
Dark Day,
Lafayette Afro Rock Band,
Television Personalities,
Cabaret Voltaire,
The Index,
Fela Kuti,
Vladislav Delay,
Albert Ayler,
Sly & The Family Stone,
Kerri Chandler,
This Heat,
Big Daddy Kane,
The Sound,
Fifty Foot Hose,
Jeru the Damaja,
Grandmaster Flash,
Letta Mbulu,
Stockholm Monsters,
Los Fastidios,
Suburban Knight,
The Durutti Column,
Glenn Branca,
Pete Rock & C.L. Smooth,
The Dead C,
The Men They Couldn't Hang,
Mission of Burma,
L. Decosne,
Jacques Brel,
Curtis Mayfield,
Altered Images,
Peter and Kerry,
Harpers Bizarre,
Bobby Byrd,
The Selecter,
The Gladiators,
Dorothy Ashby,
The Dirtbombs,
Laurel Aitken,
David Bowie,
The Searchers,
Don Cherry,
Goldenarms,
Hardrive,
The Gories, The Gories, The Gories, The Gories.
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.