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 Bolivia and from Houston.
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 Lille and Mexico City.
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 Human League practice in a loft in Sheffield.
I was working on the sitar 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 Glenn Branca to the rap 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 Parry Music. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Wally Richardson,
Judy Mowatt,
Ken Boothe,
Shuggie Otis,
Marshall Jefferson,
Roger Hodgson,
Freddie Wadling,
Cameo,
a-ha,
Iggy Pop,
Supertramp,
Minny Pops,
The Techniques,
Unwound,
David Bowie,
Sun City Girls,
Khruangbin,
Gastr Del Sol,
De La Soul & Jungle Brothers,
Joe Finger,
Big Daddy Kane,
Tommy Roe,
Cheater Slicks,
The Cowsills,
Roxy Music,
Davy DMX,
Scrapy,
The Wake,
Arthur Verocai,
Notorious BIG live in Amsterdam,
Deepchord,
Q65,
Grey Daturas,
Von Mondo,
Mars,
Gary Puckett & The Union Gap,
Chrome,
Kool G Rap & DJ Polo,
Sexual Harrassment,
The Gap Band,
Faraquet,
Laurel Aitken,
Cal Tjader,
Masters at Work,
OOIOO,
Janne Schatter,
The Pretty Things,
Technova,
Nico,
Sister Nancy,
Cecil Taylor,
Andrew Ashong & Theo Parrish,
Sugar Minott,
Kaleidoscope,
the Bar-Kays,
Smog,
Main Source,
Aural Exciters,
The Royal Family And The Poor,
London Community Gospel Choir,
Roxette, Roxette, Roxette, Roxette.
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.