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 El Salvador and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
I'm losing my edge to the art-school Manila 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 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 D'Angelo to the crunk kids.
I played it at the Hacienda.
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 Make Up. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Porter Ricks,
Lakeside,
Robert Görl,
Brick,
Avey Tare,
Kango’s Stein Massive,
Pere Ubu,
Peter & Gordon,
Rowland S Howard / Lydia Lunch,
Malaria!,
Aural Exciters,
Lebanon Hanover,
Sly & The Family Stone,
Wally Richardson,
The Gladiators,
Jerry's Kids,
Ajijia Myrayebe,
The Skatalites,
Glambeats Corp.,
Slave,
Anakelly,
Lou Reed & Metallica,
The Busters,
Tubeway Army,
Zero Boys,
Crime,
The Fortunes,
Bizarre Inc.,
Prince Buster,
Letta Mbulu,
Vaughan Mason & Crew,
Boogie Down Productions,
Excepter,
The West Coast Pop Art Experimental Band,
Wire,
Siglo XX,
Rufus Thomas,
Liliput,
Groovy Waters,
Derrick Morgan,
Simply Red,
Arthur Verocai,
Byron Stingily,
Smog,
Junior Murvin,
Derrick May,
The Five Americans,
Soft Cell,
Radiohead,
Tom Boy,
the Swans,
Funky Four + One,
Dead Boys,
Organ,
Depeche Mode,
Jeff Mills,
Terry Callier,
Rapeman,
Gregory Isaacs,
Bobbi Humphrey,
Jerry Gold Smith,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.