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 Algeria 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 1964 to 1970.
I'm losing my edge.
To all the kids in Tehran and Madrid.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 Swans to the electroclash kids.
I played it at the Spitz.
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 Bootsy Collins. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Godley & Creme,
Lonnie Liston Smith,
The Walker Brothers,
Eric Dolphy,
The Wake,
Tubeway Army,
DNA,
Siouxsie and the Banshees,
Chris Corsano,
June Days,
Crime,
U.S. Maple,
Reagan Youth,
Subhumans,
Eve St. Jones,
Ultimate Spinach,
Grandmaster Flash,
The Cure,
The Shadows of Knight,
Can,
Zero Boys,
Grauzone,
Nils Olav,
Delon & Dalcan,
Fear,
Bronski Beat,
Rotary Connection,
Shoche,
The Skatalites,
John Holt,
Icehouse,
Magma,
The Slits,
Hashim,
the Fania All-Stars,
Loose Ends,
Gil Scott-Heron and Jamie xx,
The Dead C,
Outsiders,
Jerry Gold Smith,
Model 500,
Sam Rivers,
Strawberry Alarm Clock,
Donald Byrd,
Bill Near,
Magazine,
Liliput,
Franke,
John Coltrane,
The Cowsills,
James Chance & The Contortions,
Von Mondo,
Max Romeo,
Mo-Dettes,
UT,
Wire,
Rowland S Howard / Lydia Lunch,
Clear Light,
Ice-T,
Make Up,
Bobby Womack,
Sister Nancy,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.