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 Ethiopia and from Woodstock.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Ossler to the grunge kids.
I played it at the 40 Watt.
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 A Certain Ratio. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Reagan Youth record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Nation of Ulysses,
Surgeon,
The Fuzztones,
Teenage Jesus and the Jerks,
The Residents,
Aloha Tigers,
Ronnie Foster,
Robert Görl,
Sonny Sharrock,
Black Moon,
Tom Boy,
Eden Ahbez,
Joy Division,
Oblivians,
Kool G Rap & DJ Polo,
Eddi Front,
Bobby Byrd,
Interpol,
Gastr Del Sol,
New York Dolls,
Marc Almond,
Kerri Chandler,
Underground Resistance,
Joensuu 1685,
The Gories,
The Names,
Joe Finger,
Depeche Mode,
Buzzcocks,
Bang On A Can,
Tim Buckley,
Barrington Levy,
Chrome,
Morten Harket,
Groovy Waters,
Moss Icon,
Girls At Our Best!,
Fat Boys,
The Monochrome Set,
Warren Ellis,
Sight & Sound,
Symarip,
Camron Feat. Memphis Bleek And Beenie Seigel,
Y Pants,
Public Image Ltd.,
Swell Maps,
Sam Rivers,
Heaven 17,
Sound Behaviour,
Moebius,
Von Mondo,
Mo-Dettes,
Roger Hodgson,
Big Daddy Kane,
Echospace,
the Normal,
Amon Düül II,
The Mighty Diamonds,
Delta 5, Delta 5, Delta 5, Delta 5.
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.