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 Togo and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1978.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Hong Kong 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 Robert Palmer 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 Aaron Thompson to the funk kids.
I played it at the Astoria.
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 Ohio Players. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Ten City,
Circle Jerks,
It's A Beautiful Day,
Maurizio,
Negative Approach,
Red Lorry Yellow Lorry,
La Düsseldorf,
Bob Dylan,
Terror Squad Feat. Camron,
Masters at Work,
These Immortal Souls,
X-Ray Spex,
Crooked Eye,
Darondo,
Roxette,
Jesper Dahlbäck,
Blake Baxter,
The Leaves,
The Count Five,
Teenage Jesus and the Jerks,
Half Japanese,
Bizarre Inc.,
Basic Channel,
Loose Ends,
The Mojo Men,
a-ha,
Bobby Sherman,
The Flesh Eaters,
Bang on a Can All-Stars,
Black Flag,
The Zeros,
Visage,
Minor Threat,
June of 44,
Desert Stars,
Gang of Four,
Kerri Chandler,
Kings Of Tomorrow,
Lalann,
The Move,
Marmalade,
The Gladiators,
Sugar Minott,
Carl Craig,
Dual Sessions,
Smog,
Monolake,
The J.B.'s,
the Association,
The Seeds,
Eden Ahbez,
The Sonics,
Con Funk Shun,
the Swans,
Alice Coltrane,
The Offenders,
Q65,
Bill Near,
The Cure,
The Men They Couldn't Hang,
Junior Murvin,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.