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 Djibouti and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Madrid 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 rhodes 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 The Slits to the funk kids.
I played it at the Spitz.
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 Leonard Cohen. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
The Litter,
Max Romeo,
Fear,
Malaria!,
Banda Bassotti,
Scan 7,
Gang Green,
Animal Collective,
The Stooges,
Massinfluence,
Ice-T,
Bobby Hutcherson,
Dave Gahan,
The Techniques,
The Residents,
Pere Ubu,
Circle Jerks,
Soft Cell,
Graham Central Station,
Aural Exciters,
Sparks,
Jesper Dahlback,
Negative Approach,
Kings Of Tomorrow,
Underground Resistance,
The Grass Roots,
Liliput,
Sugar Minott,
Ultravox,
Röyhkä ja Rättö ja Lehtisalo,
Amon Düül II,
The Fuzztones,
John Lydon,
Radiohead,
DJ Sneak,
Albert Ayler,
Bob Dylan,
Sister Nancy,
X-Ray Spex,
Barrington Levy,
The Fortunes,
Half Japanese,
Blake Baxter,
Accadde A,
Byron Stingily,
OOIOO,
Traffic Nightmare,
Pete Rock & C.L. Smooth,
Second Layer,
Flamin' Groovies,
Gil Scott Heron,
Pylon,
The Gories,
Ronan,
Main Source,
The United States of America,
The American Breed,
Suicide,
One Last Wish,
Flipper,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.