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 Solomon Islands and from Manchester.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Salvador 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 at the first Suicide practice in a loft in New York.
I was working on the 808 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 Dawn Penn to the punk kids.
I played it at the 40 Watt.
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 Cameo. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Alison Limerick,
Wasted Youth,
Super Lover Cee & Casanova Rud,
The Victims,
Robert Hood,
The Mojo Men,
Saccharine Trust,
Hot Snakes,
Dave Gahan,
Gil Scott-Heron & Brian Jackson,
The Doors,
Gang Starr,
Intrusion,
Agitation Free,
Bootsy's Rubber Band,
Slave,
Delon & Dalcan,
The Fugs,
Alton Ellis,
Orchestral Manoeuvres in the Dark,
The Divine Comedy,
Bang on a Can All-Stars,
Henry Cow,
Amon Düül,
Television Personalities,
Barrington Levy,
The Pop Group,
Bootsy Collins,
The Kinks,
Glenn Branca,
Funkadelic,
Richard Hell and the Voidoids,
Reuben Wilson,
The Motions,
Arthur Verocai,
Joe Smooth,
Eric B and Rakim,
Nas,
Jawbox,
Youth Brigade,
Faust,
London Community Gospel Choir,
The Sonics,
Eric Copeland,
Vaughan Mason & Crew,
Bobbi Humphrey,
The Happenings,
Morten Harket,
Fifty Foot Hose,
Suburban Knight,
Roger Hodgson,
Ponytail,
Fat Boys,
Buzzcocks,
Inner City,
Matthew Bourne,
Mad Mike,
Angry Samoans,
KRS-One,
Oneida, Oneida, Oneida, Oneida.
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.