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 Moldova and from Lille.
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 Paris and London.
I'm losing my edge to the art-school Seoul 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 snare 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 Sugar Minott to the rap kids.
I played it at Cafe Wha.
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 Robert Görl. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
The Trojans,
Chrome,
The Alarm Clocks,
Ornette Coleman,
Zapp,
Blossom Toes,
Andrew Ashong & Theo Parrish,
the Swans,
Newcleus,
DeepChord presents Echospace,
Crime,
Rufus Thomas,
The Black Dice,
Sugar Minott,
Siouxsie and the Banshees,
L. Decosne,
Kerrie Biddell,
Crooked Eye,
Shoche,
The Residents,
Crash Course in Science,
Brand Nubian,
Pantaleimon,
The Litter,
Grandmaster Flash and the Furious Five,
Bush Tetras,
Moss Icon,
Scrapy,
The Vogues,
Beasts of Bourbon,
Isaac Hayes,
Iggy Pop,
Ajijia Myrayebe,
Mo-Dettes,
Brass Construction,
Desert Stars,
Major Organ And The Adding Machine,
Soft Cell,
Rahsaan Roland Kirk,
Livin' Joy,
Kas Product,
Masters at Work,
Wighnomy Brothers & Robag Wruhme,
Bootsy's Rubber Band,
The Martian,
The Techniques,
The Invisible,
Minny Pops,
Index,
The Mojo Men,
Negative Approach,
Suicide,
The Cramps,
Hot Snakes,
Scratch Acid,
Gang Starr,
Tomorrow,
Vladislav Delay,
Deadbeat,
JFA,
Vainqueur,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.