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 Tanzania and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Columbus 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 arpeggiator 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 DJ Style to the disco kids.
I played it at the Crocodile.
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 Curtis Mayfield. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Girls At Our Best!,
Funky Four + One,
Japan,
Crispian St. Peters,
MC5,
Joy Division,
Nils Olav,
Mary Jane Girls,
Dawn Penn,
Marc Almond,
Thinking Fellers Union Local 282,
Nirvana,
Glambeats Corp.,
CMW,
Gang of Four,
Slick Rick,
Lebanon Hanover,
Jawbox,
Notorious BIG live in Amsterdam,
Outsiders,
The Walker Brothers,
Unrelated Segments,
Thompson Twins,
Nick Cave & The Bad Seeds,
Roy Ayers,
Gang Starr,
Kool G Rap & DJ Polo,
Smog,
Magma,
The Doobie Brothers,
Rekid,
Connie Case,
Moss Icon,
Brothers Johnson,
Soft Cell,
The Names,
The Peanut Butter Conspiracy,
Fat Boys,
Jimmy McGriff,
Bad Manners,
Johnny Clarke,
Radiohead,
Henry Cow,
Drexciya,
48th St. Collective,
Notorious Big And Bone Thugs,
B.T. Express,
Minny Pops,
Beasts of Bourbon,
Roxette,
Underground Resistance,
the Swans,
Be Bop Deluxe,
Sällskapet,
Gabor Szabo,
Pharaoh Sanders and the Fire Engines,
Lee Hazlewood,
Aaron Thompson,
AZ, AZ, AZ, AZ.
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.