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 Lebanon and from Glasgow.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Toronto 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 Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Davy DMX to the jazz kids.
I played it at the Hacienda.
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 Gang Starr. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D 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?
Metal Thangz,
Amon Düül II,
Spoonie Gee,
Minny Pops,
Kenny Larkin,
In Retrospect,
Oppenheimer Analysis,
Tomorrow,
Laurel Aitken,
Pole,
Marc Almond,
Jeru the Damaja,
Faust,
Joyce Sims,
The Seeds,
Dark Day,
Marmalade,
Nas,
Richard Hell and the Voidoids,
Funkadelic,
These Immortal Souls,
Procol Harum,
Parry Music,
Gil Scott-Heron and Jamie xx,
Circle Jerks,
The Gun Club,
Brass Construction,
Traffic Nightmare,
Rosa Yemen,
Donny Hathaway,
MDC,
Lonnie Liston Smith,
Joensuu 1685,
Ken Boothe,
John Lydon,
Bill Wells,
Eric B and Rakim,
New York Dolls,
The Misunderstood,
The Red Krayola,
Gil Scott Heron,
The Pop Group,
Anakelly,
Colin Newman,
Stiv Bators,
Lafayette Afro Rock Band,
Red Lorry Yellow Lorry,
Crispy Ambulance,
The Dirtbombs,
Visionaries,LMNO, T- Love & Iriscience,
Kurtis Blow,
Soul Sonic Force,
David Bowie,
Intrusion,
The Dave Clark Five,
Average White Band,
Negative Approach,
Gichy Dan,
Johnny Clarke,
Sandy B,
The Fall, The Fall, The Fall, The Fall.
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.