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 New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Lyon 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 808 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 Livin' Joy to the grunge 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 Vaughan Mason & Crew. All the underground hits.
All The Gladiators 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 grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Minutemen,
JFA,
Unwound,
Alton Ellis,
Traffic Nightmare,
The Offenders,
Soft Cell,
Lakeside,
Curtis Mayfield,
Colin Newman,
Patti Smith,
Kurtis Blow,
Matthew Halsall,
Heavy D & The Boyz,
The Victims,
Lou Reed & John Cale,
Heaven 17,
Stereo Dub,
Barrington Levy,
Bill Wells,
Eyeless In Gaza,
Reuben Wilson,
Notorious BIG live in Amsterdam,
The Cure,
The Knickerbockers,
Thompson Twins,
James Chance & The Contortions,
Arthur Verocai,
Roy Ayers Ubiquity,
Visage,
Rotary Connection,
Boogie Down Productions,
Carl Craig,
Henry Cow,
Mo-Dettes,
Metal Thangz,
The Last Poets,
The Barracudas,
Crash Course in Science,
Red Lorry Yellow Lorry,
Surgeon,
John Lydon,
The Standells,
Make Up,
Flash Fearless,
Stockholm Monsters,
Janne Schatter,
Jerry's Kids,
Goldenarms,
Bad Manners,
Gang of Four,
Y Pants,
Johnny Osbourne,
Ituana,
Captain Beefheart & His Magic Band,
Gastr Del Sol,
Sam Rivers,
Camberwell Now,
Motorama,
The Smoke,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.