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 Morocco and from Lagos.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school New York 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 1976 at the first Wire practice in a loft in Watford.
I was working on the snare 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 Rakim to the grunge 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 Unrelated Segments. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every World's Most record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Massinfluence,
The Men They Couldn't Hang,
OOIOO,
B.T. Express,
Das Ding,
Slave,
Pharoah Sanders,
D'Angelo,
Young Marble Giants,
Thee Headcoats,
Half Japanese,
Vaughan Mason & Crew,
Pulsallama,
The Mummies,
Shuggie Otis,
Bronski Beat,
Pet Shop Boys,
Quantec,
Public Image Ltd.,
The Alarm Clocks,
Loose Ends,
Davy DMX,
Oneida,
Big Daddy Kane,
U.S. Maple,
Josef K,
Gil Scott-Heron and Jamie xx,
Skaos,
Fear,
Harry Pussy,
Rhythm & Sound,
Angry Samoans,
The Vogues,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Electric Prunes,
Lyres,
Excepter,
Kool G Rap & DJ Polo,
Echospace,
The American Breed,
Sandy B,
Thompson Twins,
Mantronix,
Crime,
Sexual Harrassment,
The Fortunes,
Peter & Gordon,
The Victims,
Nico,
Scrapy,
Fort Wilson Riot,
Visionaries,LMNO, T- Love & Iriscience,
Jesper Dahlbäck,
Make Up,
Crooked Eye,
K-Klass,
Sex Pistols,
Jacques Brel,
Stiv Bators,
Wasted Youth,
Second Layer,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.