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 Tuvalu and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Halifax.
I'm losing my edge to the art-school Milan 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 mellotron 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 Cabaret Voltaire to the grime kids.
I played it at the Crocodile.
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 Sonny Sharrock. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Lakeside 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your güiro and bought a guitar.
I hear that you and your band have sold your guitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Notorious Big And Bone Thugs,
Model 500,
The Trojans,
Hoover,
Scott Walker,
Los Fastidios,
Lindisfarne,
Guru Guru,
Wings,
Pole,
Crooked Eye,
Minnie Riperton,
These Immortal Souls,
Barbara Tucker,
The Birthday Party,
John Lydon,
Section 25,
Nation of Ulysses,
Mars,
Circle Jerks,
Joyce Sims,
Sällskapet,
The Mojo Men,
Kango’s Stein Massive,
Michelle Simonal,
Youth Brigade,
Captain Beefheart & His Magic Band,
Stiv Bators,
Traffic Nightmare,
Symarip,
Throbbing Gristle,
Pharoah Sanders,
Pierre Henry,
The Raincoats,
K-Klass,
Gil Scott Heron,
Electric Light Orchestra,
Second Layer,
Crispy Ambulance,
Unwound,
Man Parrish,
The Flesh Eaters,
DJ Style,
Franke,
The Sonics,
Tomorrow,
Hashim,
Pete Rock & C.L. Smooth,
Röyhkä ja Rättö ja Lehtisalo,
Mr. Review,
the Normal,
Ponytail,
Quantec,
Public Image Ltd.,
The Moody Blues,
Gang Green,
Joensuu 1685,
The Grass Roots,
Monolake,
Dark Day, Dark Day, Dark Day, Dark Day.
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.