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 Romania and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Slave to the grime kids.
I played it at the 40 Watt.
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 Porter Ricks. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Japan,
The Toasters,
Joe Smooth,
Marc Romboy vs. Booka Shade,
The Fall,
Arcadia,
The Star Department,
Sugar Minott,
Todd Rundgren,
Hardrive,
Johnny Clarke,
8 Eyed Spy,
Suburban Knight,
Oneida,
De La Soul & Jungle Brothers,
The Evens,
Blossom Toes,
The Dirtbombs,
Essential Logic,
John Lydon,
Sällskapet,
Soft Machine,
Stiv Bators,
Boz Scaggs,
Traffic Nightmare,
Duran Duran,
Grandmaster Flash and the Furious Five,
FM Einheit,
Visage,
Quantec,
Icehouse,
Clear Light,
Stereo Dub,
Byron Stingily,
Boredoms,
Sticky Fingaz feat. Raekwon,
Soft Cell,
Half Japanese,
Vainqueur,
Gang of Four,
Suicide,
X-Ray Spex,
Country Joe & The Fish,
The Moody Blues,
Harpers Bizarre,
Carl Craig,
Derrick May,
Brothers Johnson,
Maurizio,
The Fugs,
Louis and Bebe Barron,
Bauhaus,
The Golliwogs,
Godley & Creme,
The Jesus and Mary Chain,
Sonic Youth,
Kerri Chandler,
Angry Samoans,
The Buckinghams,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.