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 Nauru and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1970.
I'm losing my edge.
To all the kids in Seoul and Beijing.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 electroclash kids.
I played it at the Roxy.
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 Kango’s Stein Massive. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Dennis Brown 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Buckinghams,
Scan 7,
Unwound,
Sam Rivers,
Slave,
Stiv Bators,
Peter & Gordon,
Adolescents,
Camberwell Now,
Alphaville,
Bootsy's Rubber Band,
Minutemen,
Sparks,
Brass Construction,
Arab on Radar,
Moby Grape,
Bob Dylan,
Mars,
B.T. Express,
Peter Gordon & Love of Life Orchestra,
Captain Beefheart & His Magic Band,
Oppenheimer Analysis,
Guru Guru,
Ludus,
Al Stewart,
Pagans,
Amon Düül,
Siglo XX,
Siouxsie and the Banshees,
Anakelly,
Amazonics,
Rotary Connection,
Chris Corsano,
Pierre Henry,
In Retrospect,
Dr. Dre and Snoop Doggy Dog,
Fatback Band,
Tubeway Army,
Traffic Nightmare,
The Leaves,
Glambeats Corp.,
Magazine,
Todd Terry,
Saccharine Trust,
Peter and Kerry,
Soulsonic Force,
Judy Mowatt,
Nirvana,
It's A Beautiful Day,
The Barracudas,
Chrome,
Ohio Players,
Terrestrial Tones,
Nik Kershaw,
Loose Ends,
Bobby Byrd,
Lee Hazlewood,
Ten City,
Ponytail, Ponytail, Ponytail, Ponytail.
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.