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 Sudan and from Jakarta.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Cairo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro 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 The New Christs to the grime 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 Lebanon Hanover. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every John Holt 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Black Moon,
Pussy Galore,
The Peanut Butter Conspiracy,
Tomorrow,
The Fall,
The Real Kids,
Rowland S Howard / Lydia Lunch,
Don Cherry,
Boredoms,
Flipper,
The Doors,
Livin' Joy,
Thompson Twins,
Bobby Sherman,
Donald Byrd,
Gastr Del Sol,
the Fania All-Stars,
The Buckinghams,
Gang of Four,
Avey Tare's Slasher Flicks,
Johnny Osbourne,
Lalann,
the Sonics,
Rakim,
Jeff Mills,
The Flesh Eaters,
Thee Headcoats,
Pylon,
The Monks,
Newcleus,
Susan Cadogan,
E-Dancer,
The Leaves,
Smog,
Vaughan Mason & Crew,
Jimmy McGriff,
Chris & Cosey,
Alison Limerick,
X-Ray Spex,
Country Teasers,
Banda Bassotti,
The American Breed,
Arcadia,
T.S.O.L.,
Tears for Fears,
Sad Lovers and Giants,
Ken Boothe,
Pagans,
Kurtis Blow,
The Associates,
World's Most,
The Royal Family And The Poor,
Wire,
Easy Going,
Nico,
Deadbeat,
A Certain Ratio,
Funky Four + One,
Heavy D & The Boyz,
It's A Beautiful Day,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.