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 San Marino and from Hong Kong.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Manila.
I'm losing my edge to the art-school Glasgow 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 808 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 Albert Ayler to the disco kids.
I played it at the Spitz.
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 Names. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every The Fall 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Echo & the Bunnymen,
Andrew Ashong & Theo Parrish,
The Stooges,
F. McDonald,
The United States of America,
The Electric Prunes,
CMW,
Sexual Harrassment,
Organ,
Groovy Waters,
Buzzcocks,
Angels of Light & Akron/Family,
Amon Düül II,
Aaron Thompson,
B.T. Express,
Minor Threat,
The Angels of Light,
Alice Coltrane,
Ten City,
Rakim,
Newcleus,
Tres Demented,
Yazoo,
Minny Pops,
Inner City,
The Blackbyrds,
K-Klass,
Bootsy Collins,
Khruangbin,
Brand Nubian,
Erasure,
Yusef Lateef,
Nation of Ulysses,
Altered Images,
Bizarre Inc.,
Sarah Menescal,
Louis and Bebe Barron,
Donny Hathaway,
Infiniti,
Bauhaus,
The Royal Family And The Poor,
The Shadows of Knight,
Swans,
Anthony Braxton,
Ralphi Rosario,
The Happenings,
Boogie Down Productions,
Derrick May,
Rekid,
Sam Rivers,
David McCallum,
Jesper Dahlback,
A Certain Ratio,
Jerry's Kids,
Mo-Dettes,
Gabor Szabo,
Eli Mardock,
The Toasters,
Flash Fearless,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.