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 Nigeria and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Cairo 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 oboe 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 Tom Boy to the crunk 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 Gregory Isaacs. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Justin Hinds & The Dominoes,
Rakim,
Tomorrow,
Q65,
Rhythim Is Rhythim,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Standells,
The Martian,
Junior Murvin,
The Last Poets,
The Offenders,
The Victims,
the Soft Cell,
Fat Boys,
Blancmange,
Cecil Taylor,
Gabor Szabo,
Bizarre Inc.,
Sad Lovers and Giants,
Minnie Riperton,
The Sonics,
The Vogues,
The Names,
the Sonics,
Brick,
Pierre Henry,
Johnny Osbourne,
Morten Harket,
Funkadelic,
Blake Baxter,
Visionaries,LMNO, T- Love & Iriscience,
The Gories,
Skarface,
The Gun Club,
Jacob Miller,
Mary Jane Girls,
Kas Product,
Peter Gordon & Love of Life Orchestra,
Lou Reed,
Erasure,
The Fall,
The Jesus and Mary Chain,
The Sisters of Mercy,
Technova,
Throbbing Gristle,
Eric Copeland,
Sex Pistols,
The Blues Magoos,
Pharoah Sanders,
Howard Jones,
Chris Corsano,
Nils Olav,
Freddie Wadling,
Theoretical Girls,
Kool Moe Dee,
Kaleidoscope,
Dead Boys,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.