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 Norway and from Taipei.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Glasgow 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 snare 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 The Tremeloes to the punk kids.
I played it at the Hacienda.
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 LL Cool J. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Easy Going 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Susan Cadogan,
Dark Day,
Marshall Jefferson,
Chris & Cosey,
Quantec,
Joyce Sims,
Public Enemy,
Von Mondo,
Interpol,
David Bowie,
Bootsy's Rubber Band,
K-Klass,
Robert Wyatt,
The Standells,
Joensuu 1685,
Tears for Fears,
Animal Collective,
Groovy Waters,
Man Eating Sloth,
Delta 5,
Bob Dylan,
The Detroit Cobras,
Gang Green,
The Residents,
Pagans,
Girls At Our Best!,
Sarah Menescal,
Zapp,
Sam Rivers,
Basic Channel,
Gary Puckett & The Union Gap,
Fear,
The Durutti Column,
Crooked Eye,
Babytalk,
Bad Manners,
Joy Division,
The Dave Clark Five,
the Normal,
Joe Finger,
Roxy Music,
Siglo XX,
Youth Brigade,
Avey Tare & Kría Brekkan,
Reuben Wilson,
Mantronix,
Pierre Henry,
The J.B.'s,
Gastr Del Sol,
Ossler,
Arthur Verocai,
Kango’s Stein Massive,
The Five Americans,
Fatback Band,
Albert Ayler,
Robert Görl,
Matthew Bourne,
Sight & Sound,
Orchestral Manoeuvres in the Dark,
Nick Fraelich,
Boz Scaggs,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.