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 Kenya and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Manchester 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 clarinet sounds with much patience.
I was there when David Bowie 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 The Beau Brummels to the funk kids.
I played it at the Troubador.
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 Negative Approach. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every DJ Style 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Minnie Riperton,
The Fortunes,
Rapeman,
Jeff Mills,
Television Personalities,
E-Dancer,
The Associates,
the Normal,
Agent Orange,
The Men They Couldn't Hang,
Howard Jones,
The Detroit Cobras,
The J.B.'s,
Mr. Review,
Scratch Acid,
Gil Scott Heron,
Jerry Gold Smith,
Mars,
Siouxsie and the Banshees,
The Residents,
Essential Logic,
Reagan Youth,
the Sonics,
Donny Hathaway,
Gil Scott-Heron and Jamie xx,
Altered Images,
F. McDonald,
The Grass Roots,
Ronnie Foster,
Oppenheimer Analysis,
Fat Boys,
Minor Threat,
Ultra Naté,
DJ Style,
Soul II Soul,
Scion,
The Happenings,
Faraquet,
John Lydon,
Nirvana,
Stiv Bators,
A Flock of Seagulls,
Dennis Brown,
The Sonics,
the Association,
The Modern Lovers,
Flamin' Groovies,
Bad Manners,
The Last Poets,
U.S. Maple,
Easy Going,
Andrew Hill,
Kaleidoscope,
Rhythim Is Rhythim,
Jeru the Damaja,
The Count Five,
China Crisis,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.