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 Denmark and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Beijing 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Tomorrow to the techno 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 James White and The Blacks. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every KRS-One 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 theremin and a chamberlin 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 spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Hoover,
Minutemen,
Nils Olav,
Avey Tare,
Wighnomy Brothers & Robag Wruhme,
Television Personalities,
Model 500,
John Lydon,
Supertramp,
The Golliwogs,
Liliput,
Urselle,
The Invisible,
The Techniques,
Crime,
Judy Mowatt,
ABBA,
Crooked Eye,
La Düsseldorf,
David McCallum,
Arthur Verocai,
Blossom Toes,
Yaz,
Iggy Pop,
Spandau Ballet,
A Flock of Seagulls,
U.S. Maple,
Mo-Dettes,
Larry & the Blue Notes,
The Sisters of Mercy,
The Slits,
The Move,
Lafayette Afro Rock Band,
Terry Callier,
Don Cherry,
The Walker Brothers,
Fugazi,
Pylon,
Mary Jane Girls,
Public Image Ltd.,
Soft Cell,
The Evens,
Bluetip,
Kerrie Biddell,
Gabor Szabo,
Intrusion,
The Busters,
Gang of Four,
T. Rex,
Nik Kershaw,
Skarface,
Swell Maps,
Bobby Byrd,
Gichy Dan,
The Associates,
Neil Young,
The Divine Comedy,
The Mummies,
The Pop Group,
Rekid,
JFA,
Echospace, Echospace, Echospace, Echospace.
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.