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 Yemen and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1976.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Lyon 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 guitar sounds with much patience.
I was there when Lou Reed 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 The United States of America to the grime 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 The Count Five. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Quadrant 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Oneida,
Pagans,
Carl Craig,
Lou Christie,
Hardrive,
Bobby Womack,
U.S. Maple,
Index,
Gil Scott Heron,
The Gun Club,
Morten Harket,
Curtis Mayfield,
Fifty Foot Hose,
Silicon Teens,
The Selecter,
Jesper Dahlbäck,
Louis and Bebe Barron,
Pulsallama,
Mars,
Jawbox,
The Dead C,
Cymande,
Livin' Joy,
Terrestrial Tones,
Joensuu 1685,
cv313,
Essential Logic,
Eyeless In Gaza,
The Index,
Heavy D & The Boyz,
Gabor Szabo,
The Leaves,
Lonnie Liston Smith,
Sister Nancy,
Frankie Knuckles,
EPMD,
Freddie Wadling,
Adolescents,
The Divine Comedy,
Gong,
Peter & Gordon,
Bobby Byrd,
Sight & Sound,
The Seeds,
Electric Prunes,
Prince Buster,
Little Man,
Jeff Mills,
Bang On A Can,
Nation of Ulysses,
Eli Mardock,
The Electric Prunes,
The Count Five,
Rod Modell,
Johnny Clarke,
The Fugs,
Kerrie Biddell,
Eden Ahbez,
Alton Ellis,
Liaisons Dangereuses,
Simply Red,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.