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 Kazakhstan and from Sao Paulo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Mumbai.
I'm losing my edge to the art-school Salvador 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Yaz to the rap kids.
I played it at the 40 Watt.
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 Basic Channel. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Saccharine Trust,
Cybotron,
Nik Kershaw,
The Doors,
Howard Jones,
Faraquet,
Maurizio,
The Jesus and Mary Chain,
The Durutti Column,
Avey Tare & Kría Brekkan,
the Soft Cell,
the Normal,
Rosa Yemen,
The Detroit Cobras,
Dorothy Ashby,
Echospace,
John Coltrane,
Eli Mardock,
Half Japanese,
Todd Rundgren,
Jeff Lynne,
Art Ensemble Of Chicago,
The Birthday Party,
The Mummies,
Bang On A Can,
Hot Snakes,
Cymande,
Major Organ And The Adding Machine,
Fatback Band,
Man Eating Sloth,
Hasil Adkins,
ABC,
Livin' Joy,
Lou Reed & John Cale,
Traffic Nightmare,
Public Enemy,
Louis and Bebe Barron,
DJ Sneak,
The Golliwogs,
Suburban Knight,
Ultravox,
Bobby Hutcherson,
Dave Gahan,
Pagans,
The Real Kids,
Amazonics,
K-Klass,
Lou Reed,
Delta 5,
LL Cool J,
David McCallum,
Beasts of Bourbon,
The Zeros,
Tubeway Army,
Harmonia,
The Remains,
Simply Red,
Spoonie Gee,
Pantaleimon,
Franke,
Eden Ahbez,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.