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 Netherlands and from Seoul.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Cairo 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Barrington Levy to the techno 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 Lee Hazlewood. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Fifty Foot Hose,
Aswad,
Dark Day,
Suicide,
Spandau Ballet,
X-102,
Quantec,
Moby Grape,
Barrington Levy,
Red Lorry Yellow Lorry,
Nik Kershaw,
Rhythim Is Rhythim,
The Electric Prunes,
Rhythm & Sound,
Jeff Lynne,
Sugar Minott,
Boredoms,
Lower 48,
The Slackers,
The Doors,
Fluxion,
Rahsaan Roland Kirk,
Althea and Donna,
Make Up,
The Standells,
The Five Americans,
8 Eyed Spy,
Sparks,
The Count Five,
Lindisfarne,
Stiv Bators,
Public Image Ltd.,
London Community Gospel Choir,
Grandmaster Flash,
Roxy Music,
Camouflage,
Mad Mike,
Röyhkä ja Rättö ja Lehtisalo,
Simply Red,
The Index,
Blake Baxter,
Crispian St. Peters,
The Invisible,
The Fugs,
Minny Pops,
The Dirtbombs,
Lalann,
The Cure,
OOIOO,
Pagans,
The Searchers,
Niagra,
The West Coast Pop Art Experimental Band,
La Düsseldorf,
Scientists,
Kings Of Tomorrow,
Sly & The Family Stone,
The Shadows of Knight,
The Divine Comedy,
It's A Beautiful Day,
The Toasters,
Depeche Mode,
the Slits, the Slits, the Slits, the Slits.
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.