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 Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Lagos 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 CMW to the punk kids.
I played it at the Crocodile.
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 Public Image Ltd.. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal grime 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Moby Grape,
Grandmaster Flash,
Fat Boys,
Flash Fearless,
Moebius,
Public Enemy,
The Zeros,
The Modern Lovers,
Talk Talk,
48th St. Collective,
Q and Not U,
Skriet,
Richard Hell and the Voidoids,
Avey Tare's Slasher Flicks,
The Golliwogs,
Rotary Connection,
The Sound,
Organ,
Echospace,
Desert Stars,
The Slits,
Saccharine Trust,
Susan Cadogan,
FM Einheit,
B.T. Express,
the Slits,
The Pretty Things,
Adolescents,
Gastr Del Sol,
Tim Buckley,
The Sonics,
Ash Ra Tempel,
Accadde A,
Bush Tetras,
Lower 48,
the Human League,
Röyhkä ja Rättö ja Lehtisalo,
Max Romeo,
Nico,
Fad Gadget,
Yusef Lateef,
the Sonics,
Negative Approach,
The Victims,
Traffic Nightmare,
Groovy Waters,
Heavy D & The Boyz,
D'Angelo,
The Motions,
The Selecter,
Popol Vuh,
Ajijia Myrayebe,
Inner City,
The West Coast Pop Art Experimental Band,
Black Sheep,
Crooked Eye,
Alice Coltrane,
Sonny Sharrock,
LL Cool J,
The Toasters,
Vaughan Mason & Crew,
Shoche, Shoche, Shoche, Shoche.
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.