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 Tuvalu and from Winnipeg.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Zapp 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 Frankie Knuckles. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal rap 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 a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joy Division,
The Moody Blues,
Sun Ra Arkestra,
Cluster,
Rosa Yemen,
Deadbeat,
Throbbing Gristle,
Agitation Free,
Stockholm Monsters,
Sun City Girls,
The Selecter,
Eddi Front,
Nirvana,
FM Einheit,
the Soft Cell,
Visage,
Rites of Spring,
Urselle,
Lightning Bolt,
Scratch Acid,
Jerry Gold Smith,
Crispy Ambulance,
Underground Resistance,
H. Thieme,
Brand Nubian,
The Jesus and Mary Chain,
A Certain Ratio,
Donald Byrd,
Yaz,
Tropical Tobacco,
Sun Ra,
The Real Kids,
Skarface,
Arab on Radar,
Darondo,
David Axelrod,
Junior Murvin,
John Lydon,
Man Eating Sloth,
Byron Stingily,
Joensuu 1685,
The Pop Group,
T. Rex,
Pussy Galore,
Inner City,
Trumans Water,
Sad Lovers and Giants,
The Litter,
Gregory Isaacs,
Stereo Dub,
Flamin' Groovies,
Rekid,
Radiopuhelimet,
Stetsasonic,
Siouxsie and the Banshees,
Yellowson,
Gichy Dan,
Tim Buckley,
48th St. Collective,
Lou Reed & Metallica,
Bootsy Collins,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.