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 Pakistan and from Woodstock.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Lyon and Shanghai.
I'm losing my edge to the art-school Madrid 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb 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 Prince Buster to the rock 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 Major Organ And The Adding Machine. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Smog 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Orchestral Manoeuvres in the Dark,
Radio Birdman,
Pere Ubu,
Eric Dolphy,
Sister Nancy,
Jeff Lynne,
New York Dolls,
The Fortunes,
Joey Negro,
Lakeside,
cv313,
JFA,
Barbara Tucker,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Residents,
Johnny Osbourne,
CMW,
Nick Cave & The Bad Seeds,
Grauzone,
Cal Tjader,
Warsaw,
It's A Beautiful Day,
Major Organ And The Adding Machine,
The Happenings,
Kas Product,
Rapeman,
Quantec,
Scrapy,
Gary Puckett & The Union Gap,
Deakin,
Max Romeo,
Bronski Beat,
Desert Stars,
Patti Smith,
Delta 5,
Theoretical Girls,
The Evens,
Electric Light Orchestra,
Sexual Harrassment,
the Fania All-Stars,
Bad Manners,
Rhythm & Sound,
Dave Gahan,
Big Daddy Kane,
Archie Shepp,
Deutsch Amerikanische Freundschaft,
Lalo Schifrin,
Depeche Mode,
Surgeon,
Wasted Youth,
Adolescents,
Ornette Coleman,
Ten City,
MDC,
Harry Pussy,
Unrelated Segments,
The Mojo Men,
Negative Approach,
L. Decosne,
Sun Ra,
Boredoms,
Selector Dub Narcotic,
Dead Boys, Dead Boys, Dead Boys, Dead 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.