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 Guinea-Bissau and from London.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Johannesburg 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 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 Monks to the techno 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 Gang Gang Dance. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Rites of Spring record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Sarah Menescal,
Smog,
Stereo Dub,
The Motions,
Alton Ellis,
The Standells,
MDC,
Funky Four + One,
Agent Orange,
Toni Rubio,
Matthew Bourne,
JFA,
Unwound,
Orchestral Manoeuvres in the Dark,
Justin Hinds & The Dominoes,
Yusef Lateef,
Pole,
DJ Style,
The Doobie Brothers,
The Associates,
Selector Dub Narcotic,
Mars,
Yazoo,
Crime,
Buzzcocks,
Liliput,
Gang of Four,
E-Dancer,
The Cramps,
Pierre Henry,
Quando Quango,
The Tremeloes,
Lafayette Afro Rock Band,
Scratch Acid,
Scott Walker + Sunn O))),
The Cowsills,
Symarip,
Bang on a Can All-Stars,
Sällskapet,
Kerrie Biddell,
Boogie Down Productions,
Deakin,
Jacques Brel,
Derrick Morgan,
Spandau Ballet,
Aural Exciters,
Ralphi Rosario,
London Community Gospel Choir,
Lee Hazlewood,
Anakelly,
Super Lover Cee & Casanova Rud,
Fort Wilson Riot,
Basic Channel,
Half Japanese,
Robert Görl,
Nick Fraelich,
Moby Grape,
Roxy Music,
the Normal, the Normal, the Normal, the Normal.
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.