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 East Timor and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Stockholm 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 rhodes 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 Stereo Dub to the grime kids.
I played it at the 40 Watt.
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 Radiohead. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Boogie Down Productions,
Tropical Tobacco,
Sad Lovers and Giants,
Mandrill,
Johnny Clarke,
the Bar-Kays,
The Motions,
Rhythim Is Rhythim,
Cheater Slicks,
Nico,
a-ha,
Selector Dub Narcotic,
Main Source,
Japan,
The Five Americans,
Accadde A,
The Vogues,
Nils Olav,
The Peanut Butter Conspiracy,
Inner City,
Don Cherry,
Mark Hollis,
Scratch Acid,
Sällskapet,
Bluetip,
The Dirtbombs,
Suburban Knight,
La Düsseldorf,
The Golliwogs,
Negative Approach,
Desert Stars,
The Cowsills,
Sugar Minott,
The Happenings,
Lonnie Liston Smith,
Television,
DJ Sneak,
Marvin Gaye,
Marine Girls,
Jeru the Damaja,
Make Up,
ABC,
Arthur Verocai,
The Angels of Light,
Motorama,
Alphaville,
Marc Romboy vs. Booka Shade,
Saccharine Trust,
Agitation Free,
Peter & Gordon,
The Jesus and Mary Chain,
Jeff Lynne,
Peter and Kerry,
Con Funk Shun,
Alton Ellis,
Sonic Youth,
Flash Fearless,
Excepter, Excepter, Excepter, Excepter.
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.