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 Saudi Arabia and from Accra.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Leonard Cohen to the crunk kids.
I played it at the Hacienda.
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 The Doobie Brothers. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Todd Rundgren record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Henry Cow,
The Gun Club,
Crime,
Hoover,
Gang Gang Dance,
R.M.O.,
The Chocolate Watch Band,
Donny Hathaway,
The Zeros,
the Bar-Kays,
Jacob Miller,
Bobbi Humphrey,
Nas,
The Slits,
Babytalk,
Marine Girls,
Charles Mingus,
Aural Exciters,
Smog,
Selector Dub Narcotic,
Qualms,
DNA,
Art Ensemble Of Chicago,
Kurtis Blow,
Symarip,
The Cure,
Swell Maps,
Q and Not U,
Fear,
Yusef Lateef,
Mr. Review,
Sugar Minott,
Mantronix,
Kauko Röyhkä ja Narttu,
Visionaries,LMNO, T- Love & Iriscience,
Boredoms,
Manfred Mann's Earth Band,
Eric Copeland,
Grandmaster Flash and the Furious Five,
Glenn Branca,
Gang of Four,
London Community Gospel Choir,
E-Dancer,
Ultra Naté,
The Star Department,
Traffic Nightmare,
The Mighty Diamonds,
Bad Manners,
Reuben Wilson,
Public Image Ltd.,
Rhythm & Sound,
New York Dolls,
Public Enemy,
Eyeless In Gaza,
Country Teasers,
Talk Talk,
Gil Scott-Heron & Brian Jackson,
Flipper,
Section 25,
Ronan,
Unwound, Unwound, Unwound, Unwound.
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.