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 Uzbekistan and from Lille.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Slave to the crunk kids.
I played it at CBGB's.
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 Toni Rubio. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Junior Murvin 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Popol Vuh,
John Lydon,
These Immortal Souls,
Skaos,
Fluxion,
The Alarm Clocks,
The Pop Group,
Black Sheep,
Nirvana,
The Stooges,
Throbbing Gristle,
Gang of Four,
Aural Exciters,
Lalo Schifrin,
Grandmaster Flash,
Cameo,
Country Teasers,
Matthew Halsall,
Idris Muhammad,
Bootsy's Rubber Band,
Gang Green,
Archie Shepp,
CMW,
London Community Gospel Choir,
Connie Case,
Hardrive,
the Sonics,
Amon Düül,
Depeche Mode,
John Foxx,
Al Stewart,
Robert Görl,
Junior Murvin,
La Düsseldorf,
the Association,
Sixth Finger,
The Tremeloes,
Wire,
Ash Ra Tempel,
Sällskapet,
Camouflage,
Ultra Naté,
Heavy D & The Boyz,
Albert Ayler,
the Swans,
Lee Hazlewood,
Chris & Cosey,
June of 44,
Freddie Wadling,
Nico,
Beasts of Bourbon,
Slick Rick,
Cheater Slicks,
Eyeless In Gaza,
kango's stein massive,
Chrome,
Pharaoh Sanders and the Fire Engines,
Sly & The Family Stone,
Eric Dolphy,
The Evens,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.