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 Ivory Coast and from Lille.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Woodstock 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 synthesizer 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 Schoolly D to the grime kids.
I played it at the Astoria.
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 Mary Jane Girls tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
The Chocolate Watch Band,
Jacques Brel,
Lee Hazlewood,
Rahsaan Roland Kirk,
Eli Mardock,
Ajijia Myrayebe,
Carl Craig,
Blake Baxter,
The Durutti Column,
Prince Buster,
Minutemen,
Darondo,
Sticky Fingaz feat. Raekwon,
Bush Tetras,
Robert Wyatt,
John Cale,
Bill Wells,
Q65,
Harry Pussy,
Aloha Tigers,
Arab on Radar,
DJ Style,
Avey Tare,
Oppenheimer Analysis,
A Certain Ratio,
Chris Corsano,
Brass Construction,
Scott Walker + Sunn O))),
James Chance & The Contortions,
Röyhkä ja Rättö ja Lehtisalo,
The Associates,
Nick Cave & The Bad Seeds,
Magazine,
Rapeman,
Y Pants,
John Lydon,
Oblivians,
Agitation Free,
Ornette Coleman,
U.S. Maple,
The American Breed,
Graham Central Station,
Justin Hinds & The Dominoes,
Television,
Talk Talk,
Flash Fearless,
Janne Schatter,
Half Japanese,
Ossler,
D'Angelo,
Richard Hell and the Voidoids,
Scientists,
Fad Gadget,
Black Bananas,
Little Man,
Essential Logic,
The West Coast Pop Art Experimental Band,
Cameo,
The Young Rascals,
Sixth Finger,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.