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 Kosovo and from Paris.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Spokane and Paris.
I'm losing my edge to the art-school Jakarta 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 UT to the jazz 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 Alison Limerick. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
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 Mr. Review record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
The Selecter,
The Moody Blues,
Fifty Foot Hose,
Angry Samoans,
Roy Ayers,
Blancmange,
Popol Vuh,
U.S. Maple,
Pole,
Alison Limerick,
Andrew Hill,
The United States of America,
The Moleskins,
The Fugs,
Neil Young & Crazy Horse,
The Count Five,
Grandmaster Flash,
John Lydon,
Yellowson,
Blossom Toes,
Jesper Dahlbäck,
Deadbeat,
Isaac Hayes,
Gang Gang Dance,
Jacob Miller,
Porter Ricks,
DJ Style,
Drexciya,
Larry & the Blue Notes,
Dead Boys,
Sarah Menescal,
Sly & The Family Stone,
Siouxsie and the Banshees,
The New Christs,
Boogie Down Productions,
Pulsallama,
The Litter,
Hardrive,
Interpol,
Robert Wyatt,
Minor Threat,
the Slits,
The Men They Couldn't Hang,
the Human League,
Franke,
Heavy D & The Boyz,
Marvin Gaye,
Nation of Ulysses,
Lou Reed & John Cale,
This Heat,
Young Marble Giants,
The Slackers,
Aaron Thompson,
Tropical Tobacco,
Derrick Morgan,
Can,
Harpers Bizarre,
Stiv Bators,
Crime, Crime, Crime, Crime.
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.