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 Chad and from Lille.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
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 Wire practice in a loft in Watford.
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 Kool Moe Dee to the techno kids.
I played it at the Roxy.
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 John Lydon. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every The Moody Blues 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
8 Eyed Spy,
Aaron Thompson,
Make Up,
Robert Görl,
Skarface,
Country Joe & The Fish,
Tubeway Army,
The Saints,
Bobby Sherman,
Juan Atkins,
Flipper,
ABBA,
Simply Red,
T. Rex,
The Walker Brothers,
Supertramp,
Grandmaster Flash,
the Fania All-Stars,
The Men They Couldn't Hang,
The Selecter,
Ken Boothe,
Howard Jones,
Index,
Camouflage,
Avey Tare's Slasher Flicks,
Kas Product,
Dark Day,
John Holt,
Jimmy McGriff,
Urselle,
Harmonia,
DJ Sneak,
Eddi Front,
Malaria!,
La Düsseldorf,
Judy Mowatt,
Youth Brigade,
Dual Sessions,
Soulsonic Force,
Jesper Dahlbäck,
The Toasters,
Lakeside,
Brand Nubian,
The Moody Blues,
Lightning Bolt,
Kayak,
Smog,
Fluxion,
Slick Rick,
DJ Style,
Nik Kershaw,
Organ,
Tom Boy,
Livin' Joy,
Average White Band,
Anthony Braxton,
The Stooges,
Arcadia,
Bob Dylan,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.