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 Luxembourg and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
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 güiro 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 Frankie Knuckles to the rock 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 Vaughan Mason & Crew. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Tomorrow,
Neu!,
Red Lorry Yellow Lorry,
Motorama,
Danielle Patucci,
Sunsets and Hearts,
Lyres,
The Human League,
Jeff Mills,
Procol Harum,
Kango’s Stein Massive,
Can,
Accadde A,
Wire,
Gil Scott-Heron and Jamie xx,
Cymande,
Kurtis Blow,
The Last Poets,
The Monochrome Set,
D'Angelo,
Minor Threat,
Make Up,
Franke,
kango's stein massive,
Whodini,
Tears for Fears,
Jacob Miller,
Peter and Kerry,
Pulsallama,
Delta 5,
Jandek,
Scratch Acid,
Blancmange,
Vainqueur,
Henry Cow,
Janne Schatter,
U.S. Maple,
Model 500,
Audionom,
Nico,
Wolf Eyes,
Minutemen,
The Flesh Eaters,
Crispy Ambulance,
the Human League,
MC5,
Stiv Bators,
Oblivians,
The Fugs,
Q and Not U,
CMW,
The Cosmic Jokers,
Radio Birdman,
Clear Light,
The Selecter,
Oppenheimer Analysis,
The Golliwogs,
Jimmy McGriff,
Bizarre Inc.,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.