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 Philippines and from New York.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Cairo.
I'm losing my edge to the art-school Beijing 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Derrick May to the rap kids.
I played it at the 40 Watt.
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 Quantec. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Hardrive 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 '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Manfred Mann's Earth Band,
The Offenders,
Bluetip,
Terry Callier,
This Heat,
Camouflage,
Amon Düül II,
Aloha Tigers,
Clear Light,
Rotary Connection,
The Alarm Clocks,
T. Rex,
Robert Hood,
Freddie Wadling,
Mary Jane Girls,
Morten Harket,
Orchestral Manoeuvres in the Dark,
Barbara Tucker,
Severed Heads,
Richard Hell and the Voidoids,
Peter Gordon & Love of Life Orchestra,
Jeff Lynne,
Andrew Ashong & Theo Parrish,
Flipper,
Nation of Ulysses,
Ultimate Spinach,
Niagra,
The Monks,
Ohio Players,
Deadbeat,
Fat Boys,
Dual Sessions,
The Smiths,
The Pop Group,
Howard Jones,
The Zeros,
Godley & Creme,
Beasts of Bourbon,
Country Joe & The Fish,
Saccharine Trust,
Khruangbin,
Marc Romboy vs. Booka Shade,
Nik Kershaw,
The Happenings,
Red Lorry Yellow Lorry,
Sixth Finger,
Todd Terry,
Aswad,
Eden Ahbez,
The Mummies,
Lyres,
The Stooges,
China Crisis,
Charles Mingus,
The Flesh Eaters,
The Seeds,
Bad Manners,
Jeru the Damaja,
X-102,
Masters at Work,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.