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 Australia and from London.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Paris 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare 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 James Chance & The Contortions to the rap kids.
I played it at Trash.
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 Soft Machine. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes 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?
Kerri Chandler,
Minny Pops,
Joy Division,
48th St. Collective,
The Stooges,
F. McDonald,
Malaria!,
Icehouse,
Al Stewart,
T.S.O.L.,
Organ,
Kevin Saunderson,
Outsiders,
Graham Central Station,
MDC,
Bobbi Humphrey,
Curtis Mayfield,
Rhythm & Sound,
La Düsseldorf,
Parry Music,
Inner City,
Index,
Big Daddy Kane,
Bob Dylan,
Pharoah Sanders,
Boredoms,
Black Pus,
James Chance & The Contortions,
The Barracudas,
Röyhkä ja Rättö ja Lehtisalo,
Mo-Dettes,
Joe Smooth,
Nick Fraelich,
Wings,
The Angels of Light,
Max Romeo,
Rekid,
Fort Wilson Riot,
Scan 7,
Altered Images,
The Music Machine,
Stetsasonic,
Rakim,
Reuben Wilson,
John Coltrane,
Rod Modell,
Vaughan Mason & Crew,
Pantaleimon,
Funky Four + One,
Kenny Larkin,
Quadrant,
Carl Craig,
Isaac Hayes,
David Bowie,
Smog,
Nick Cave & The Bad Seeds,
Cecil Taylor,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.