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 Guinea-Bissau and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Tokyo 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 snare 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 Jesper Dahlbäck to the grunge kids.
I played it at the Spitz.
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 Dark Day. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Intrusion,
The Mighty Diamonds,
Sad Lovers and Giants,
Thee Headcoats,
Leonard Cohen,
the Fania All-Stars,
Urselle,
Notorious Big And Bone Thugs,
Circle Jerks,
Tom Boy,
Roy Ayers Ubiquity,
Ultra Naté,
Bang On A Can,
Angels of Light & Akron/Family,
The Cowsills,
Idris Muhammad,
Unwound,
Sunsets and Hearts,
Avey Tare & Kría Brekkan,
The Dave Clark Five,
Silicon Teens,
Sound Behaviour,
Mo-Dettes,
Manfred Mann's Earth Band,
Anthony Braxton,
Nas,
Masters at Work,
Gang Starr,
Electric Light Orchestra,
Kool Moe Dee,
Andrew Hill,
Ludus,
The Fortunes,
Kurtis Blow,
Suburban Knight,
Pagans,
Scion,
Siouxsie and the Banshees,
Flipper,
Scott Walker + Sunn O))),
Max Romeo,
Archie Shepp,
The Smoke,
In Retrospect,
Second Layer,
Vaughan Mason & Crew,
Gichy Dan,
Joensuu 1685,
Stereo Dub,
Jesper Dahlbäck,
Throbbing Gristle,
Eurythmics,
Dennis Brown,
The Trojans,
Royal Trux,
Gil Scott Heron,
Vladislav Delay,
Be Bop Deluxe,
Wally Richardson,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.