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 Rwanda and from Manchester.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Milan and New York.
I'm losing my edge to the art-school Houston 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 marimba sounds with much patience.
I was there when Michael McDonald 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 The Grass Roots to the electroclash kids.
I played it at the Troubador.
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 Pantytec. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
David Axelrod,
The Fire Engines,
The Move,
Electric Light Orchestra,
Heaven 17,
Wire,
Be Bop Deluxe,
Buzzcocks,
Sun City Girls,
Eve St. Jones,
The Dead C,
The Raincoats,
The Birthday Party,
The Seeds,
Panda Bear,
Bang On A Can,
Lee Hazlewood,
cv313,
Mary Jane Girls,
Crispy Ambulance,
Super Lover Cee & Casanova Rud,
Essential Logic,
Supertramp,
Black Bananas,
Letta Mbulu,
John Lydon,
Pharaoh Sanders and the Fire Engines,
Gian Franco Pienzio,
Camron Feat. Memphis Bleek And Beenie Seigel,
Stetsasonic,
Little Man,
Technova,
Derrick Morgan,
Loose Ends,
Notorious Big And Bone Thugs,
Black Flag,
Judy Mowatt,
The Doors,
London Community Gospel Choir,
Black Moon,
Adolescents,
Lou Reed & Metallica,
Chrome,
Kool G Rap & DJ Polo,
Stockholm Monsters,
Blossom Toes,
Desert Stars,
Peter and Kerry,
Fluxion,
Eurythmics,
Swans,
Echospace,
Gastr Del Sol,
The Skatalites,
Schoolly D,
Whodini,
Vladislav Delay,
the Association, the Association, the Association, the Association.
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.