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 Somalia and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Halifax.
I'm losing my edge to the art-school London 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Letta Mbulu to the grime kids.
I played it at the Troubador.
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 Quando Quango. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal electroclash 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 a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Sex Pistols,
Con Funk Shun,
Quantec,
The Standells,
Gichy Dan,
Colin Newman,
Charles Mingus,
Boogie Down Productions,
Cymande,
Japan,
Motorama,
Bang On A Can,
Stiv Bators,
Camberwell Now,
The Happenings,
Agitation Free,
The Flesh Eaters,
The Smiths,
Amon Düül II,
Darondo,
Lou Christie,
cv313,
X-101,
Dual Sessions,
John Holt,
The Monochrome Set,
Groovy Waters,
The Beau Brummels,
Lee Hazlewood,
Dorothy Ashby,
Gerry Rafferty,
Andrew Hill,
Hasil Adkins,
This Heat,
Nik Kershaw,
Unwound,
Sister Nancy,
Rhythim Is Rhythim,
Man Eating Sloth,
Wolf Eyes,
Max Romeo,
Orchestral Manoeuvres in the Dark,
Gang Gang Dance,
Donny Hathaway,
Sandy B,
MDC,
Grandmaster Flash and the Furious Five,
The Fuzztones,
Deakin,
New Order,
Anthony Braxton,
The Chocolate Watch Band,
F. McDonald,
Lou Reed & John Cale,
AZ,
Excepter,
Sarah Menescal,
Zapp,
The Evens,
Banda Bassotti,
Moby Grape,
Kas Product,
D'Angelo,
Ludus, Ludus, Ludus, Ludus.
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.