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 China and from Houston.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
I'm losing my edge to the art-school Manila 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 Human League practice in a loft in Sheffield.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Flash Fearless to the grunge kids.
I played it at the Astoria.
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 Porter Ricks. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Grandmaster Flash and the Furious Five,
Mars,
Throbbing Gristle,
Colin Newman,
Eli Mardock,
The Dead C,
Bobby Hutcherson,
Carl Craig,
The Pretty Things,
Ituana,
Joe Finger,
Janne Schatter,
Black Sheep,
Sällskapet,
New Order,
Stiv Bators,
Lonnie Liston Smith,
The Human League,
Marshall Jefferson,
Bronski Beat,
Angry Samoans,
Flamin' Groovies,
Drive Like Jehu,
Wolf Eyes,
Donald Byrd,
Q65,
Bang On A Can,
Gang of Four,
Spoonie Gee,
Gabor Szabo,
Judy Mowatt,
Niagra,
Scientists,
Stetsasonic,
Shoche,
John Holt,
Peter and Kerry,
Leonard Cohen,
It's A Beautiful Day,
Pharaoh Sanders and the Fire Engines,
Godley & Creme,
Gichy Dan,
ABBA,
Country Teasers,
Jandek,
The Count Five,
Rahsaan Roland Kirk,
Brick,
Alphaville,
Jacques Brel,
Avey Tare,
Cybotron,
Nation of Ulysses,
Harmonia,
Ultramagnetic MC's,
Marvin Gaye,
The Index,
The Blues Magoos,
Jerry Gold Smith,
Skarface, Skarface, Skarface, Skarface.
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.