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 Switzerland and from Lyon.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 This Heat to the rock kids.
I played it at the Hacienda.
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 Liaisons Dangereuses. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Alison Limerick,
Stiv Bators,
The Flesh Eaters,
Ajijia Myrayebe,
E-Dancer,
Ten City,
Mission of Burma,
Gregory Isaacs,
Reagan Youth,
JFA,
Adolescents,
Roger Hodgson,
Hoover,
June of 44,
Scion,
Marine Girls,
Soul Sonic Force,
X-102,
Q and Not U,
Archie Shepp,
Yaz,
Bang On A Can,
Marvin Gaye,
Lindisfarne,
Brick,
Fatback Band,
The Barracudas,
Y Pants,
The Men They Couldn't Hang,
LL Cool J,
Absolute Body Control,
Susan Cadogan,
Dark Day,
Arcadia,
Suicide,
Guru Guru,
Amon Düül II,
Marmalade,
Sugar Minott,
Josef K,
John Coltrane,
The Fortunes,
Malaria!,
Camron Feat. Memphis Bleek And Beenie Seigel,
Moby Grape,
Derrick Morgan,
Avey Tare's Slasher Flicks,
Blake Baxter,
Scott Walker + Sunn O))),
Ossler,
The Seeds,
Gil Scott-Heron and Jamie xx,
The Searchers,
Pierre Henry,
Crooked Eye,
Hashim,
Soft Cell,
Echospace,
Dawn Penn,
Public Enemy,
Grandmaster Flash,
Kango’s Stein Massive,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.