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 Slovakia and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Lyon.
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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Gil Scott Heron to the dance kids.
I played it at the Crocodile.
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 Peter and Kerry. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Siglo XX 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 '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Roxy Music,
The United States of America,
Brick,
Mission of Burma,
The J.B.'s,
Pantytec,
Scott Walker,
Rosa Yemen,
T.S.O.L.,
The Modern Lovers,
Slave,
James Chance & The Contortions,
Livin' Joy,
The Detroit Cobras,
Sam Rivers,
Janne Schatter,
Cabaret Voltaire,
Bobbi Humphrey,
Blancmange,
Newcleus,
Godley & Creme,
Boredoms,
Organ,
The Count Five,
Nas,
the Slits,
Lebanon Hanover,
Ponytail,
Half Japanese,
Robert Görl,
Mary Jane Girls,
the Soft Cell,
Das Ding,
The Offenders,
Rotary Connection,
Ajijia Myrayebe,
Sonny Sharrock,
Josef K,
Desert Stars,
Pete Rock & C.L. Smooth,
Erasure,
Rhythim Is Rhythim,
Q65,
Kaleidoscope,
Bush Tetras,
MC5,
Girls At Our Best!,
Kenny Larkin,
Soul Sonic Force,
Icehouse,
The Searchers,
Camberwell Now,
Simply Red,
Ituana,
the Sonics,
The Skatalites,
E-Dancer,
Q and Not U,
Fugazi,
DJ Sneak,
Drexciya, Drexciya, Drexciya, Drexciya.
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.