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 United Kingdom and from Portland.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Columbus 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 Metal Thangz to the rap kids.
I played it at the Roxy.
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 Cramps. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Throbbing Gristle,
Jeff Mills,
Nas,
Bootsy Collins,
R.M.O.,
Country Joe & The Fish,
Leonard Cohen,
The Busters,
Brass Construction,
Fear,
Morten Harket,
Lower 48,
Sarah Menescal,
DNA,
June Days,
Siglo XX,
Underground Resistance,
Roxy Music,
The Trojans,
Hot Snakes,
Los Fastidios,
World's Most,
Altered Images,
Rosa Yemen,
Niagra,
The Motions,
Godley & Creme,
Ituana,
Swans,
Fifty Foot Hose,
Captain Beefheart & His Magic Band,
Mad Mike,
Bizarre Inc.,
Howard Jones,
Masters at Work,
Swell Maps,
Ken Boothe,
Sällskapet,
Archie Shepp,
Faust,
The Royal Family And The Poor,
Connie Case,
Kevin Saunderson,
The Buckinghams,
Funky Four + One,
Procol Harum,
David Bowie,
Cabaret Voltaire,
The Gories,
Minnie Riperton,
Brothers Johnson,
Lucky Dragons,
Eddi Front,
Clear Light,
Quadrant,
The Music Machine,
The Residents,
Byron Stingily,
Circle Jerks,
The Count Five,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.