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 Croatia and from London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer 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 Ten City to the punk kids.
I played it at CBGB's.
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 Section 25. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Intrusion,
Gang Starr,
Dorothy Ashby,
Kenny Larkin,
The Gap Band,
Kevin Saunderson,
The Pretty Things,
Gil Scott Heron,
the Association,
Drexciya,
New York Dolls,
Arcadia,
Moss Icon,
Qualms,
Hardrive,
The Searchers,
X-102,
Kas Product,
The Standells,
Sam Rivers,
Dawn Penn,
Bill Near,
Average White Band,
Yusef Lateef,
CMW,
Pagans,
The New Christs,
Sonic Youth,
Justin Hinds & The Dominoes,
Siglo XX,
Yellowson,
Erykah Badu,
Echo & the Bunnymen,
Icehouse,
The Barracudas,
Grauzone,
Gang of Four,
Bizarre Inc.,
Amon Düül,
Kerrie Biddell,
Ohio Players,
Electric Prunes,
Country Teasers,
Masters at Work,
Scott Walker + Sunn O))),
Eli Mardock,
Kurtis Blow,
Ossler,
Wasted Youth,
La Düsseldorf,
The Count Five,
The Tremeloes,
Rites of Spring,
The Fortunes,
Marcia Griffiths,
Camouflage,
L. Decosne,
Sexual Harrassment,
Swell Maps,
Sparks,
Shoche,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.