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 Kenya and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1975.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Halifax 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Human League to the grunge kids.
I played it at the Hacienda.
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 Unrelated Segments. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Henry Cow 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Reuben Wilson,
Echo & the Bunnymen,
Roy Ayers Ubiquity,
The Last Poets,
Strawberry Alarm Clock,
Grey Daturas,
Liliput,
Wally Richardson,
Unrelated Segments,
Circle Jerks,
Albert Ayler,
The Electric Prunes,
Japan,
Cal Tjader,
Gil Scott-Heron and Jamie xx,
The Busters,
Harmonia,
Glambeats Corp.,
Minny Pops,
Eric B and Rakim,
Amon Düül,
Minnie Riperton,
Jerry's Kids,
The Mighty Diamonds,
Jimmy McGriff,
Mad Mike,
Crash Course in Science,
Mo-Dettes,
Wings,
Amazonics,
R.M.O.,
Carl Craig,
Colin Newman,
The Residents,
Thinking Fellers Union Local 282,
Moss Icon,
Franke,
Skaos,
The Selecter,
Easy Going,
Make Up,
Ajijia Myrayebe,
Lonnie Liston Smith,
The Star Department,
These Immortal Souls,
Scott Walker,
the Germs,
The Litter,
Todd Terry,
Gil Scott Heron,
Half Japanese,
CMW,
Electric Light Orchestra,
The Gun Club,
Jandek,
The Raincoats,
The Kinks,
Hot Snakes,
Bluetip, Bluetip, Bluetip, Bluetip.
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.