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 Argentina and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1975.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Bologna 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 theremin 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 Half Japanese to the disco 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 Camouflage. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
The Gladiators,
Dorothy Ashby,
Pierre Henry,
Jesper Dahlback,
The Mighty Diamonds,
Dawn Penn,
Man Eating Sloth,
Ossler,
The Durutti Column,
Eurythmics,
The Mojo Men,
Gary Puckett & The Union Gap,
Bobby Womack,
Animal Collective,
The Blues Magoos,
The Slits,
Spandau Ballet,
Harry Pussy,
The Mummies,
Gang Green,
Zapp,
Big Daddy Kane,
Khruangbin,
Organ,
Black Pus,
Lou Reed & John Cale,
a-ha,
Ultra Naté,
Skriet,
The Residents,
Dennis Brown,
Magazine,
The Move,
Kool G Rap & DJ Polo,
Saccharine Trust,
The Pretty Things,
Jimmy McGriff,
Pet Shop Boys,
Marc Almond,
Terry Callier,
L. Decosne,
Super Lover Cee & Casanova Rud,
X-102,
Josef K,
Al Stewart,
The Real Kids,
Barrington Levy,
Mandrill,
The Beau Brummels,
OOIOO,
Scan 7,
Dead Boys,
Stockholm Monsters,
Lucky Dragons,
Porter Ricks,
Bill Wells,
the Swans,
The Trojans,
Sparks,
Brass Construction,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.