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 Nepal and from Mumbai.
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 1979.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Toasters to the disco kids.
I played it at Cafe Wha.
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 Laurel Aitken. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Hashim 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Bill Near,
Ronnie Foster,
Supertramp,
Lee Hazlewood,
Public Image Ltd.,
Grauzone,
The Neon Judgement,
Ronan,
The Blues Magoos,
PIL,
Rod Modell,
The Sonics,
Drive Like Jehu,
Yaz,
Mary Jane Girls,
Circle Jerks,
Manfred Mann's Earth Band,
Symarip,
In Retrospect,
Faust,
Buzzcocks,
Aswad,
Girls At Our Best!,
Alphaville,
Funkadelic,
The American Breed,
Absolute Body Control,
Accadde A,
The Flesh Eaters,
Lyres,
Roy Ayers Ubiquity,
Moebius,
Albert Ayler,
Basic Channel,
Rosa Yemen,
The Real Kids,
Jerry's Kids,
Wings,
Ultra Naté,
London Community Gospel Choir,
Bobby Womack,
Jacob Miller,
Liliput,
Nick Fraelich,
Quantec,
Chris & Cosey,
Scrapy,
Jimmy McGriff,
Ludus,
K-Klass,
Country Teasers,
Ornette Coleman,
DNA,
The Walker Brothers,
The Barracudas,
The Fugs,
It's A Beautiful Day,
The Human League,
Wolf Eyes,
Sandy B,
Kevin Saunderson,
Public Enemy,
Brass Construction,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.