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 Togo and from Philadelphia.
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 1977.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Tehran 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 snare sounds with much patience.
I was there when Robert Palmer 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 Malaria! to the techno kids.
I played it at the Spitz.
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 Fear. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Lindisfarne,
Warsaw,
Kauko Röyhkä ja Narttu,
Whodini,
A Certain Ratio,
Masters at Work,
Avey Tare,
Donald Byrd,
Au Pairs,
The Fire Engines,
Urselle,
Stockholm Monsters,
Sun Ra,
Eve St. Jones,
The Index,
Heavy D & The Boyz,
Cheater Slicks,
Schoolly D,
Louis and Bebe Barron,
Chrome,
Bill Wells,
Depeche Mode,
D'Angelo,
Ponytail,
Oppenheimer Analysis,
The Gladiators,
Gang Green,
Fatback Band,
Henry Cow,
Pantytec,
Sun Ra Arkestra,
Chris & Cosey,
Kaleidoscope,
Black Moon,
The Martian,
Boogie Down Productions,
The Stooges,
Das Ding,
Joey Negro,
Boredoms,
Wighnomy Brothers & Robag Wruhme,
Gregory Isaacs,
Hashim,
Ituana,
Reuben Wilson,
Audionom,
Thee Headcoats,
Alphaville,
The Walker Brothers,
Joensuu 1685,
Swans,
Pulsallama,
Black Flag,
Tomorrow,
Barbara Tucker,
Youth Brigade,
Ohio Players,
David Bowie,
Nirvana,
The Mummies,
Chris Corsano,
10cc, 10cc, 10cc, 10cc.
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.