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 Montenegro 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 1966 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Madrid 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Rosa Yemen to the techno kids.
I played it at the Troubador.
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 Nirvana. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Swans,
Mo-Dettes,
Sex Pistols,
The Invisible,
The Zeros,
Altered Images,
Peter Gordon & Love of Life Orchestra,
Rosa Yemen,
The Grass Roots,
Glambeats Corp.,
Arthur Verocai,
Alice Coltrane,
Make Up,
Laurel Aitken,
The Dirtbombs,
Richard Hell and the Voidoids,
Godley & Creme,
ABC,
The Electric Prunes,
Röyhkä ja Rättö ja Lehtisalo,
Bobbi Humphrey,
Orchestral Manoeuvres in the Dark,
Severed Heads,
Eli Mardock,
Siglo XX,
Iggy Pop,
Rhythim Is Rhythim,
Icehouse,
The J.B.'s,
Second Layer,
Avey Tare's Slasher Flicks,
Sun City Girls,
The Evens,
The Young Rascals,
Flamin' Groovies,
Lou Reed,
AZ,
Public Enemy,
Derrick May,
PIL,
The Neon Judgement,
Carl Craig,
Jesper Dahlbäck,
Be Bop Deluxe,
Johnny Clarke,
Lightning Bolt,
Scratch Acid,
Pet Shop Boys,
Crash Course in Science,
Junior Murvin,
The United States of America,
Joey Negro,
Aural Exciters,
The Doors,
It's A Beautiful Day,
Rakim,
Motorama,
Harry Pussy,
Nico,
Tubeway Army,
The Offenders,
Mars,
Can, Can, Can, Can.
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.