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 Malawi and from Salvador.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Accra 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Lonnie Liston Smith to the grunge 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 The Barracudas. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
The Barracudas,
Marcia Griffiths,
The Zeros,
Supertramp,
The J.B.'s,
Neu!,
Ken Boothe,
Trumans Water,
The Associates,
Roxette,
The Litter,
Rotary Connection,
Gang Starr,
Ultra Naté,
Eve St. Jones,
Oppenheimer Analysis,
Skriet,
Subhumans,
Throbbing Gristle,
the Association,
Art Ensemble Of Chicago,
Fort Wilson Riot,
Nas,
Danielle Patucci,
Yazoo,
Infiniti,
The Selecter,
Erasure,
Camron Feat. Jay Z And Juelz,
10cc,
Television,
Red Lorry Yellow Lorry,
The Monochrome Set,
Joe Finger,
The Gladiators,
Harmonia,
Bill Near,
Lucky Dragons,
Bootsy Collins,
Deakin,
Alison Limerick,
Drive Like Jehu,
Man Parrish,
Black Bananas,
Eric Copeland,
the Germs,
Laurel Aitken,
Fad Gadget,
Junior Murvin,
The Modern Lovers,
Shoche,
Selector Dub Narcotic,
Sixth Finger,
Boz Scaggs,
Eyeless In Gaza,
The Stooges,
The Last Poets,
Television Personalities,
Kerrie Biddell,
The Dave Clark Five,
Los Fastidios,
Faust, Faust, Faust, Faust.
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.