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 Nigeria and from Bologna.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Manchester 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 The Slackers to the crunk 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 Black Flag. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Soul II Soul,
Carl Craig,
Juan Atkins,
Peter and Kerry,
The Vogues,
The Detroit Cobras,
Tom Boy,
Amon Düül,
Little Man,
Soft Cell,
Larry & the Blue Notes,
R.M.O.,
Qualms,
Crispian St. Peters,
The Five Americans,
Tears for Fears,
The Wake,
Kurtis Blow,
Pole,
Oppenheimer Analysis,
Jeru the Damaja,
Franke,
Bluetip,
Thinking Fellers Union Local 282,
Brass Construction,
Lucky Dragons,
Jimmy McGriff,
Man Eating Sloth,
Audionom,
A Flock of Seagulls,
Fort Wilson Riot,
Kas Product,
X-102,
Arthur Verocai,
Aswad,
Junior Murvin,
Notorious Big And Bone Thugs,
Aaron Thompson,
The Litter,
Henry Cow,
Boredoms,
Sound Behaviour,
Bad Manners,
Kauko Röyhkä ja Narttu,
The Sound,
New York Dolls,
June of 44,
Kool Moe Dee,
Black Bananas,
Gang Green,
The Young Rascals,
Infiniti,
The Leaves,
Gil Scott-Heron and Jamie xx,
Roy Ayers,
Yaz,
Donny Hathaway,
Khruangbin,
Guru Guru,
The Sisters of Mercy,
Can,
Louis and Bebe Barron,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.