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 Belize and from Jakarta.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Lille 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Marshall Jefferson to the electroclash kids.
I played it at the 40 Watt.
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 Dennis Brown. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Fugazi 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Robert Wyatt,
Loose Ends,
Harry Pussy,
The American Breed,
Liliput,
Tropical Tobacco,
Patti Smith,
Sugar Minott,
Young Marble Giants,
The Happenings,
Audionom,
Moebius,
Yaz,
Funkadelic,
Das Ding,
Gang Starr,
Dennis Brown,
DJ Sneak,
Stereo Dub,
Visage,
The Modern Lovers,
Lightning Bolt,
H. Thieme,
Flash Fearless,
DNA,
Connie Case,
Gastr Del Sol,
Danielle Patucci,
Jandek,
Eyeless In Gaza,
Mary Jane Girls,
Janne Schatter,
Bob Dylan,
John Holt,
Kauko Röyhkä ja Narttu,
Gil Scott-Heron and Jamie xx,
The Flesh Eaters,
Vaughan Mason & Crew,
Throbbing Gristle,
Slave,
Goldenarms,
Peter & Gordon,
The Techniques,
Sun City Girls,
Arcadia,
The Sonics,
Sparks,
Supertramp,
Alice Coltrane,
Rod Modell,
Spandau Ballet,
Inner City,
Bang On A Can,
London Community Gospel Choir,
Bobbi Humphrey,
Drexciya,
Notorious Big And Bone Thugs,
Echo & the Bunnymen,
Maleditus Sound,
Rekid,
Davy DMX,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.