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 Jamaica and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Scratch Acid to the grime kids.
I played it at Cafe Wha.
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 Johnny Osbourne. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
A Flock of Seagulls,
Groovy Waters,
La Düsseldorf,
The Modern Lovers,
Gichy Dan,
Gregory Isaacs,
Gil Scott-Heron and Jamie xx,
Marc Romboy vs. Booka Shade,
Dark Day,
Thompson Twins,
Tomorrow,
The Saints,
Cabaret Voltaire,
Lou Reed,
Vainqueur,
Jeff Mills,
Derrick May,
Swell Maps,
Bootsy Collins,
These Immortal Souls,
Lonnie Liston Smith,
Fugazi,
Reagan Youth,
Bad Manners,
Circle Jerks,
Oblivians,
Don Cherry,
Henry Cow,
Fad Gadget,
Eddi Front,
Public Enemy,
Fifty Foot Hose,
Suicide,
Pulsallama,
The Skatalites,
Gang Green,
John Cale,
Joe Finger,
Radiopuhelimet,
Motorama,
Pagans,
Country Teasers,
Rufus Thomas,
Los Fastidios,
Lyres,
Radiohead,
Eyeless In Gaza,
T.S.O.L.,
the Soft Cell,
Bauhaus,
Tears for Fears,
Funky Four + One,
Flipper,
Robert Görl,
10cc,
L. Decosne,
The Motions,
David McCallum,
The Dave Clark Five,
Beasts of Bourbon,
The Chocolate Watch Band,
Sight & Sound,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.