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 Andorra and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 808 sounds with much patience.
I was there when Donald Fagen 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 Avey Tare & Kría Brekkan to the electroclash 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 Eyeless In Gaza. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Lou Reed & John Cale,
Reagan Youth,
Brothers Johnson,
Steve Hackett,
The Gun Club,
Gil Scott-Heron and Jamie xx,
the Bar-Kays,
Derrick May,
Joyce Sims,
Pharoah Sanders,
Monolake,
Mark Hollis,
The Chocolate Watch Band,
Malaria!,
Sällskapet,
Thinking Fellers Union Local 282,
The Saints,
Marshall Jefferson,
Spoonie Gee,
Gil Scott-Heron & Brian Jackson,
Davy DMX,
Popol Vuh,
Ten City,
Tom Boy,
The Men They Couldn't Hang,
Donald Byrd,
Andrew Ashong & Theo Parrish,
JFA,
the Germs,
The Durutti Column,
Man Parrish,
Don Cherry,
Television Personalities,
Spandau Ballet,
DJ Style,
A Flock of Seagulls,
Can,
Public Image Ltd.,
Morten Harket,
Eyeless In Gaza,
The Wake,
The Selecter,
Jerry's Kids,
Scion,
the Soft Cell,
Absolute Body Control,
Danielle Patucci,
H. Thieme,
Country Teasers,
R.M.O.,
Mary Jane Girls,
Joe Smooth,
Hashim,
Interpol,
Arthur Verocai,
Tim Buckley,
Crispian St. Peters,
John Foxx,
Bad Manners,
Au Pairs,
Roger Hodgson,
The American Breed, The American Breed, The American Breed, The American Breed.
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.