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 Korea North and from Sao Paulo.
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 1965 to 1978.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Oblivians to the crunk kids.
I played it at the 40 Watt.
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 Amazonics. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Fela Kuti 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 '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
EPMD,
Kango’s Stein Massive,
Idris Muhammad,
Larry & the Blue Notes,
Godley & Creme,
The Fall,
The Remains,
Mary Jane Girls,
The Victims,
One Last Wish,
Man Eating Sloth,
Neil Young,
London Community Gospel Choir,
Thinking Fellers Union Local 282,
MDC,
Black Sheep,
The Fire Engines,
The Black Dice,
In Retrospect,
The Gun Club,
Boogie Down Productions,
Ohio Players,
Theoretical Girls,
Pharoah Sanders,
Grey Daturas,
Patti Smith,
Mo-Dettes,
Matthew Bourne,
Model 500,
Lakeside,
Howard Jones,
Man Parrish,
Heavy D & The Boyz,
Television Personalities,
This Heat,
The Men They Couldn't Hang,
Jeff Lynne,
Gregory Isaacs,
Fugazi,
The Cosmic Jokers,
Sister Nancy,
Main Source,
Leonard Cohen,
The Zeros,
Joey Negro,
The Slits,
ABC,
Pylon,
Deutsch Amerikanische Freundschaft,
Ornette Coleman,
Harpers Bizarre,
Dead Boys,
Agent Orange,
Tommy Roe,
Bluetip,
Major Organ And The Adding Machine,
The Smoke,
Grandmaster Flash,
Minnie Riperton,
Neu!, Neu!, Neu!, Neu!.
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.