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 Saudi Arabia and from Manchester.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Manchester and Houston.
I'm losing my edge to the art-school Sao Paulo 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Sonny Sharrock 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 Kango’s Stein Massive. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Joyce Sims 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
PIL,
Ralphi Rosario,
Amon Düül II,
Pere Ubu,
the Swans,
Drexciya,
Zero Boys,
Lakeside,
Echospace,
Masters at Work,
Stereo Dub,
The American Breed,
Lou Reed & John Cale,
Mary Jane Girls,
B.T. Express,
Sex Pistols,
Judy Mowatt,
The Happenings,
Y Pants,
Louis and Bebe Barron,
Hashim,
Crime,
Selector Dub Narcotic,
Connie Case,
Isaac Hayes,
Gichy Dan,
Spoonie Gee,
Kool G Rap & DJ Polo,
Public Enemy,
Roger Hodgson,
Steve Hackett,
Flamin' Groovies,
Jacob Miller,
Whodini,
Sight & Sound,
Cybotron,
The Saints,
Flipper,
Nils Olav,
Faust,
Boogie Down Productions,
Patti Smith,
The J.B.'s,
The Men They Couldn't Hang,
Deakin,
Marcia Griffiths,
The Mighty Diamonds,
The Associates,
Nick Cave & The Bad Seeds,
Vladislav Delay,
Echo & the Bunnymen,
Graham Central Station,
Shoche,
Deadbeat,
Make Up,
New Order,
Marc Almond,
The Detroit Cobras,
Delta 5,
Hoover,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.