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 Bolivia and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1972.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Bologna 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Anakelly to the grime 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 Kayak. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Morten Harket,
Bronski Beat,
Dave Gahan,
Aural Exciters,
Moss Icon,
Traffic Nightmare,
Mantronix,
Sad Lovers and Giants,
Fear,
Blancmange,
Stereo Dub,
Ultra Naté,
The Motions,
Avey Tare's Slasher Flicks,
Dual Sessions,
The Zeros,
Franke,
Vladislav Delay,
The Alarm Clocks,
the Fania All-Stars,
Siglo XX,
The Fall,
Jacob Miller,
Hot Snakes,
Kevin Saunderson,
Bobbi Humphrey,
Sugar Minott,
Clear Light,
Bang on a Can All-Stars,
Pagans,
Roger Hodgson,
Fort Wilson Riot,
Robert Hood,
The Evens,
Procol Harum,
Magazine,
The Pop Group,
Sandy B,
Negative Approach,
Easy Going,
Junior Murvin,
The Fire Engines,
N.O.R.E. Featuring Pharrell,
Oblivians,
DJ Style,
Unrelated Segments,
Steve Hackett,
Soul Sonic Force,
The Red Krayola,
Aaron Thompson,
Subhumans,
Lee Hazlewood,
John Coltrane,
Monolake,
the Soft Cell,
Fat Boys,
Boredoms,
Index,
Bluetip,
Au Pairs,
John Lydon, John Lydon, John Lydon, John Lydon.
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.