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 Albania and from Shanghai.
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 1978.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Pete Rock & C.L. Smooth to the electroclash 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 Eric B and Rakim. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal techno 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Scan 7,
Procol Harum,
Loose Ends,
Zero Boys,
Infiniti,
These Immortal Souls,
Prince Buster,
Trumans Water,
Marmalade,
Tom Boy,
Arcadia,
John Coltrane,
Alison Limerick,
L. Decosne,
Soulsonic Force,
Derrick Morgan,
The Cramps,
Faraquet,
kango's stein massive,
The Selecter,
Aloha Tigers,
Avey Tare's Slasher Flicks,
R.M.O.,
Pere Ubu,
Todd Rundgren,
Ice-T,
The Pop Group,
The Blackbyrds,
Q and Not U,
Matthew Bourne,
Niagra,
Larry & the Blue Notes,
Das Ding,
Brand Nubian,
London Community Gospel Choir,
World's Most,
Accadde A,
Jesper Dahlback,
The Saints,
Little Man,
The Fortunes,
Sad Lovers and Giants,
Judy Mowatt,
Manfred Mann's Earth Band,
Mark Hollis,
Blake Baxter,
Vladislav Delay,
The Modern Lovers,
The Toasters,
Minutemen,
Rotary Connection,
Terry Callier,
Bush Tetras,
Newcleus,
The Gun Club,
Soul II Soul,
Soft Cell,
Bill Wells,
Avey Tare,
John Holt,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.