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 Burkina and from Salvador.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Cairo and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Joy Division to the crunk kids.
I played it at the Spitz.
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 Groovy Waters. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Desert Stars 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dave Gahan record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
48th St. Collective,
Bizarre Inc.,
Pylon,
Soul Sonic Force,
Cameo,
X-Ray Spex,
Bang on a Can All-Stars,
Mark Hollis,
Loose Ends,
Nas,
Fort Wilson Riot,
Lalann,
Lizzy Mercier Descloux,
Barrington Levy,
Parry Music,
Pantytec,
Brass Construction,
Pete Rock & C.L. Smooth,
Notorious Big And Bone Thugs,
Boredoms,
Sly & The Family Stone,
Kurtis Blow,
Rod Modell,
Sugar Minott,
The Saints,
Peter and Kerry,
the Swans,
CMW,
Eurythmics,
Blake Baxter,
The West Coast Pop Art Experimental Band,
Roy Ayers Ubiquity,
June of 44,
The Barracudas,
The Smiths,
Marc Almond,
Yusef Lateef,
Easy Going,
The Wake,
Nick Cave & The Bad Seeds,
10cc,
Lebanon Hanover,
Visage,
Lonnie Liston Smith,
cv313,
The Neon Judgement,
Average White Band,
The Blackbyrds,
The Knickerbockers,
The Gladiators,
Hasil Adkins,
Todd Rundgren,
Los Fastidios,
Sunsets and Hearts,
Wire,
The Techniques,
Sad Lovers and Giants,
AZ,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.