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 Botswana and from Spokane.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Lille 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Selector Dub Narcotic to the rap kids.
I played it at the Troubador.
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 Angry Samoans. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal techno 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 a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Lalo Schifrin,
Lou Reed & Metallica,
New York Dolls,
Stereo Dub,
The Fall,
Avey Tare's Slasher Flicks,
Vainqueur,
Flipper,
Janne Schatter,
Sparks,
Alton Ellis,
Gregory Isaacs,
Sight & Sound,
Pere Ubu,
Cameo,
Accadde A,
Franke,
Ronnie Foster,
Dennis Brown,
Fatback Band,
Wally Richardson,
Drexciya,
Skarface,
the Sonics,
These Immortal Souls,
Roy Ayers,
Charles Mingus,
Eyeless In Gaza,
Minutemen,
Big Daddy Kane,
Quando Quango,
Vladislav Delay,
The Last Poets,
James White and The Blacks,
Easy Going,
World's Most,
Strawberry Alarm Clock,
Lindisfarne,
The Gun Club,
Erasure,
The Five Americans,
Gang Starr,
The Music Machine,
Mary Jane Girls,
Ultramagnetic MC's,
Flash Fearless,
The Moody Blues,
Manfred Mann's Earth Band,
Matthew Halsall,
Ossler,
The Fortunes,
Ultravox,
The Cramps,
The Knickerbockers,
Zero Boys,
Soft Cell,
Kurtis Blow,
Cabaret Voltaire,
Dead Boys,
Liaisons Dangereuses,
The Trojans, The Trojans, The Trojans, The Trojans.
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.