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 Namibia and from Toronto.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Bowie practice in a loft in Bromley.
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 Yaz to the jazz kids.
I played it at Trash.
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 Parry Music. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
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 Main Source record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Roxette,
Darondo,
Dark Day,
Gichy Dan,
UT,
the Bar-Kays,
The Fire Engines,
Arthur Verocai,
Monolake,
Man Parrish,
Donny Hathaway,
Jeff Mills,
Matthew Bourne,
Shuggie Otis,
Pharaoh Sanders and the Fire Engines,
Lungfish,
Captain Beefheart & His Magic Band,
Kango’s Stein Massive,
Dead Boys,
Hasil Adkins,
Sticky Fingaz feat. Raekwon,
Kayak,
Crime,
Bad Manners,
FM Einheit,
Ponytail,
The Angels of Light,
Blossom Toes,
Girls At Our Best!,
Motorama,
Minor Threat,
Sun City Girls,
F. McDonald,
Theoretical Girls,
The Chocolate Watch Band,
The Skatalites,
Suburban Knight,
Mr. Review,
Kings Of Tomorrow,
Malaria!,
Ice-T,
Trumans Water,
The Gories,
Barrington Levy,
The Gladiators,
Joe Smooth,
Lonnie Liston Smith,
The Mighty Diamonds,
Lyres,
Erykah Badu,
Niagra,
Intrusion,
MDC,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Harmonia,
Lafayette Afro Rock Band,
Hoover,
Grauzone,
Rowland S Howard / Lydia Lunch,
The Busters, The Busters, The Busters, The Busters.
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.