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 Cape Verde and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Seoul 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Basic Channel to the disco kids.
I played it at the Roxy.
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 Glenn Branca. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Larry & the Blue Notes,
Leonard Cohen,
Severed Heads,
KRS-One,
Yellowson,
Brothers Johnson,
Nas,
Eli Mardock,
Matthew Bourne,
Lou Christie,
Quando Quango,
Sister Nancy,
New Order,
Nation of Ulysses,
Crooked Eye,
Barrington Levy,
Sly & The Family Stone,
Frankie Knuckles,
Faraquet,
Bill Wells,
Skarface,
Tears for Fears,
Scratch Acid,
Dennis Brown,
Accadde A,
Masters at Work,
Fifty Foot Hose,
D'Angelo,
Lou Reed & Metallica,
Johnny Clarke,
Neil Young & Crazy Horse,
Suicide,
Pantaleimon,
Dark Day,
Marvin Gaye,
X-Ray Spex,
Radio Birdman,
Notorious Big And Bone Thugs,
Altered Images,
AZ,
Young Marble Giants,
Crash Course in Science,
DNA,
Max Romeo,
Derrick May,
Massinfluence,
ABBA,
Echo & the Bunnymen,
Sonic Youth,
Visionaries,LMNO, T- Love & Iriscience,
Theoretical Girls,
Isaac Hayes,
Joyce Sims,
Nirvana,
Ultimate Spinach,
The Knickerbockers,
Lalo Schifrin,
Unrelated Segments,
The Saints,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.