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 Togo and from London.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1976.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Seoul 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Ronnie Foster to the grime 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 Reagan Youth. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Yazoo record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Sad Lovers and Giants,
Grandmaster Flash and the Furious Five,
Scientists,
The Move,
Sonny Sharrock,
Bluetip,
Marcia Griffiths,
Mary Jane Girls,
Gang Green,
Captain Beefheart & His Magic Band,
Art Ensemble Of Chicago,
Stereo Dub,
Max Romeo,
Ten City,
DNA,
Saccharine Trust,
Jacques Brel,
Television Personalities,
Chris & Cosey,
Groovy Waters,
Public Image Ltd.,
Gang Starr,
Bob Dylan,
James White and The Blacks,
48th St. Collective,
Quadrant,
The Barracudas,
Ronnie Foster,
Television,
The Kinks,
Cabaret Voltaire,
The Tremeloes,
FM Einheit,
Q and Not U,
Thinking Fellers Union Local 282,
The Jesus and Mary Chain,
The Sisters of Mercy,
The Fall,
Marshall Jefferson,
The Cure,
Red Lorry Yellow Lorry,
the Bar-Kays,
Altered Images,
John Foxx,
Matthew Halsall,
Susan Cadogan,
Joensuu 1685,
Eric Dolphy,
Suicide,
Joe Smooth,
Black Moon,
Ken Boothe,
Junior Murvin,
B.T. Express,
The Remains,
Ralphi Rosario,
Fat Boys,
Guru Guru,
Massinfluence,
Lakeside,
John Holt,
Main Source, Main Source, Main Source, Main Source.
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.