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 Bhutan and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Lagos 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 EPMD to the dance 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 Grandmaster Flash. All the underground hits.
All The Move tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
The Smoke,
Schoolly D,
Circle Jerks,
The Associates,
Glambeats Corp.,
X-102,
Swans,
Lebanon Hanover,
Black Flag,
Mary Jane Girls,
Section 25,
Sly & The Family Stone,
The Techniques,
Bill Near,
Suburban Knight,
Dave Gahan,
Archie Shepp,
the Bar-Kays,
The Moody Blues,
Josef K,
Peter & Gordon,
Thinking Fellers Union Local 282,
Little Man,
Roxette,
Kerrie Biddell,
Sixth Finger,
Sonny Sharrock,
Bobby Byrd,
Black Pus,
The Black Dice,
New York Dolls,
the Germs,
The Mojo Men,
Juan Atkins,
Crime,
Rekid,
Joyce Sims,
Jerry Gold Smith,
The Selecter,
F. McDonald,
The American Breed,
Nils Olav,
Eden Ahbez,
Gil Scott-Heron & Brian Jackson,
Aaron Thompson,
Basic Channel,
Fort Wilson Riot,
The Monks,
New Age Steppers,
Das Ding,
Maurizio,
Fear,
Ronan,
Grandmaster Flash and the Furious Five,
Nico,
Black Sheep,
Siouxsie and the Banshees,
Erasure,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.