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 Costa Rica and from Jakarta.
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 1966 to 1971.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Tokyo 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 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 Radio Birdman to the jazz kids.
I played it at Trash.
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 Junior Murvin. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Liliput 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Mandrill,
Amon Düül,
Youth Brigade,
New York Dolls,
Masters at Work,
The Buckinghams,
Lafayette Afro Rock Band,
Hardrive,
The Remains,
The Fall,
Rosa Yemen,
Erykah Badu,
Kas Product,
The Last Poets,
Notorious Big And Bone Thugs,
Notorious BIG live in Amsterdam,
CMW,
Marc Almond,
The Count Five,
Flash Fearless,
Buzzcocks,
The Sisters of Mercy,
Marcia Griffiths,
a-ha,
Louis and Bebe Barron,
Curtis Mayfield,
Ituana,
Mantronix,
The Misunderstood,
Stetsasonic,
Arab on Radar,
Lungfish,
Second Layer,
Brand Nubian,
Letta Mbulu,
X-101,
Pharaoh Sanders and the Fire Engines,
Boredoms,
The Beau Brummels,
Michelle Simonal,
Lou Reed & Metallica,
The Mojo Men,
Audionom,
Country Teasers,
Television,
Skaos,
Das Ding,
Darondo,
The Mummies,
Blancmange,
Siglo XX,
Dorothy Ashby,
DeepChord presents Echospace,
Lyres,
Johnny Clarke,
F. McDonald,
Urselle,
The Royal Family And The Poor,
Albert Ayler,
Interpol,
Jawbox,
Marmalade, Marmalade, Marmalade, Marmalade.
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.