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 Jordan and from Shanghai.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Woodstock 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 güiro 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 Lower 48 to the jazz 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 Shuggie Otis. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Stetsasonic,
DJ Sneak,
Scientists,
Jesper Dahlback,
Bobby Sherman,
Ultramagnetic MC's,
Index,
The Pretty Things,
Kas Product,
Heaven 17,
Al Stewart,
Susan Cadogan,
Fatback Band,
London Community Gospel Choir,
Thee Headcoats,
Fad Gadget,
Excepter,
Easy Going,
The Martian,
Magazine,
Goldenarms,
The Divine Comedy,
Kauko Röyhkä ja Narttu,
Ultra Naté,
Cymande,
John Coltrane,
Ituana,
Arcadia,
10cc,
Lou Reed & John Cale,
Pharoah Sanders,
The Alarm Clocks,
Rapeman,
Sunsets and Hearts,
Loose Ends,
Electric Prunes,
Flamin' Groovies,
Roger Hodgson,
Reagan Youth,
Public Image Ltd.,
Yusef Lateef,
Jeru the Damaja,
Wally Richardson,
Janne Schatter,
Malaria!,
Absolute Body Control,
Eyeless In Gaza,
Colin Newman,
The Sisters of Mercy,
Tim Buckley,
Q65,
Gang Gang Dance,
The Offenders,
Bang On A Can,
Super Lover Cee & Casanova Rud,
Selector Dub Narcotic,
Strawberry Alarm Clock,
The Neon Judgement,
The Mummies,
David McCallum,
Rowland S Howard / Lydia Lunch,
Art Ensemble Of Chicago,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.