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 Andorra and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Philadelphia 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 clarinet 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 Minnie Riperton to the rock kids.
I played it at CBGB's.
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 Main Source. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Pet Shop Boys 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
K-Klass,
Terry Callier,
Amon Düül,
Fugazi,
Smog,
The Selecter,
The Skatalites,
Sound Behaviour,
Bronski Beat,
John Holt,
The Gories,
Prince Buster,
Organ,
Moss Icon,
Danielle Patucci,
Curtis Mayfield,
Intrusion,
The Offenders,
Susan Cadogan,
Barclay James Harvest,
Alton Ellis,
Yusef Lateef,
The Litter,
Robert Wyatt,
The United States of America,
The Human League,
Newcleus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bluetip,
The Moody Blues,
Tubeway Army,
The Flesh Eaters,
Avey Tare's Slasher Flicks,
Aloha Tigers,
Arthur Verocai,
Wire,
The Kinks,
Connie Case,
X-101,
Jeff Mills,
N.O.R.E. Featuring Pharrell,
Flash Fearless,
The Barracudas,
The Busters,
The Monks,
Ornette Coleman,
Procol Harum,
The Cramps,
Von Mondo,
Vaughan Mason & Crew,
Popol Vuh,
Minutemen,
Reagan Youth,
The Moleskins,
Rakim,
Liliput,
Red Lorry Yellow Lorry,
the Association,
Visage,
Aural Exciters,
The Sound,
Oblivians,
Lightning Bolt,
The Doors, The Doors, The Doors, The Doors.
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.