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 Norway and from Jakarta.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school London 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 the Association to the disco 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 The Moleskins. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Gang Starr,
Kool Moe Dee,
Nick Cave & The Bad Seeds,
Average White Band,
Mantronix,
The Tremeloes,
Trumans Water,
Cal Tjader,
Roxy Music,
Sugar Minott,
Echospace,
Blake Baxter,
The Mighty Diamonds,
Unwound,
Stockholm Monsters,
Siouxsie and the Banshees,
Bizarre Inc.,
Massinfluence,
Chrome,
Gregory Isaacs,
Jeff Mills,
Metal Thangz,
Richard Hell and the Voidoids,
Animal Collective,
the Slits,
Dorothy Ashby,
a-ha,
Albert Ayler,
Iggy Pop,
Manfred Mann's Earth Band,
Kayak,
Sällskapet,
Bush Tetras,
Rhythim Is Rhythim,
E-Dancer,
Lee Hazlewood,
Dave Gahan,
The United States of America,
Susan Cadogan,
James White and The Blacks,
Faraquet,
John Coltrane,
Model 500,
DNA,
Visage,
The Zeros,
Sarah Menescal,
Vaughan Mason & Crew,
Swell Maps,
These Immortal Souls,
Hot Snakes,
Flamin' Groovies,
Warsaw,
Maleditus Sound,
Fort Wilson Riot,
New York Dolls,
The Beau Brummels,
Cluster,
Freddie Wadling,
Sonny Sharrock,
Scion,
Barrington Levy,
Minutemen,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.