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 Burundi and from Bologna.
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 Bremen and Manchester.
I'm losing my edge to the art-school Edmonton 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 Ultravox to the dance kids.
I played it at the Troubador.
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 Excepter. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Letta Mbulu,
Schoolly D,
Kauko Röyhkä ja Narttu,
Roy Ayers,
Spoonie Gee,
the Soft Cell,
Gian Franco Pienzio,
Kevin Saunderson,
Lyres,
David Axelrod,
Make Up,
Underground Resistance,
X-102,
The Searchers,
The Misunderstood,
Ultimate Spinach,
MC5,
Agitation Free,
Nick Cave & The Bad Seeds,
The Pop Group,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Negative Approach,
The Monks,
Eyeless In Gaza,
Glambeats Corp.,
Fad Gadget,
Tommy Roe,
Royal Trux,
Grauzone,
James Chance & The Contortions,
Yellowson,
Shuggie Otis,
The Litter,
Junior Murvin,
Public Image Ltd.,
Man Parrish,
Gil Scott-Heron & Brian Jackson,
Frankie Knuckles,
Section 25,
The Victims,
The Birthday Party,
Susan Cadogan,
Gabor Szabo,
Heaven 17,
Theoretical Girls,
Be Bop Deluxe,
Joe Finger,
Banda Bassotti,
Mo-Dettes,
Mark Hollis,
The Names,
Warren Ellis,
Louis and Bebe Barron,
Pagans,
Tropical Tobacco,
The Cure,
Lizzy Mercier Descloux,
The Star Department,
Aswad, Aswad, Aswad, Aswad.
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.