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 Saudi Arabia and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Milan and Mumbai.
I'm losing my edge to the art-school Jakarta 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 808 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 Eddi Front to the grime kids.
I played it at the Crocodile.
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 CMW. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Model 500,
Robert Hood,
The Saints,
Drive Like Jehu,
Scrapy,
Aural Exciters,
Kool G Rap & DJ Polo,
The Electric Prunes,
Dark Day,
Marvin Gaye,
Sun City Girls,
Metal Thangz,
Massinfluence,
It's A Beautiful Day,
Lebanon Hanover,
D'Angelo,
The Mojo Men,
Avey Tare,
Mars,
Barclay James Harvest,
Adolescents,
Panda Bear,
DJ Sneak,
The Offenders,
Kayak,
Aloha Tigers,
Sad Lovers and Giants,
Pharaoh Sanders and the Fire Engines,
Wolf Eyes,
Shuggie Otis,
R.M.O.,
Alphaville,
Vainqueur,
Loose Ends,
Rowland S Howard / Lydia Lunch,
the Slits,
Arcadia,
Basic Channel,
Harmonia,
Fad Gadget,
Mad Mike,
Spoonie Gee,
Inner City,
Mary Jane Girls,
Stetsasonic,
Johnny Clarke,
Gang Gang Dance,
Warren Ellis,
Tubeway Army,
The Detroit Cobras,
Max Romeo,
Archie Shepp,
The Neon Judgement,
Can,
New York Dolls,
Lou Christie,
Fugazi,
Tomorrow,
PIL,
Stereo Dub,
Guru Guru,
Schoolly D,
Intrusion, Intrusion, Intrusion, Intrusion.
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.