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 Serbia and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Charles Mingus to the crunk kids.
I played it at the Roxy.
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 Television Personalities. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Robert Hood,
X-101,
Massinfluence,
Ash Ra Tempel,
Ice-T,
The Seeds,
Deadbeat,
Anakelly,
The Index,
Schoolly D,
Ornette Coleman,
Piero Umiliani,
Roxy Music,
Dennis Brown,
Brand Nubian,
Niagra,
The Neon Judgement,
Peter & Gordon,
Eddi Front,
Gary Puckett & The Union Gap,
The Barracudas,
Lyres,
AZ,
Pylon,
Sällskapet,
Babytalk,
The Real Kids,
Boredoms,
Lakeside,
The Doobie Brothers,
Simply Red,
A Certain Ratio,
The Gap Band,
Scientists,
Man Eating Sloth,
Strawberry Alarm Clock,
Arthur Verocai,
Scratch Acid,
Arab on Radar,
The Techniques,
H. Thieme,
Absolute Body Control,
The Tremeloes,
Judy Mowatt,
Porter Ricks,
Livin' Joy,
Grey Daturas,
The Stooges,
Harmonia,
The Vogues,
Bad Manners,
L. Decosne,
The Divine Comedy,
Dual Sessions,
Donald Byrd,
Siouxsie and the Banshees,
Supertramp,
T.S.O.L.,
Joy Division,
Siglo XX,
Gabor Szabo,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.