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 Bulgaria and from Jakarta.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Delhi 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Electric Prunes to the jazz 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 Royal Trux. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Richard Hell and the Voidoids,
Fela Kuti,
Minor Threat,
The Jesus and Mary Chain,
The Chocolate Watch Band,
Orchestral Manoeuvres in the Dark,
Kayak,
Drexciya,
JFA,
Anakelly,
Saccharine Trust,
Juan Atkins,
Television,
Kaleidoscope,
Rowland S Howard / Lydia Lunch,
Derrick Morgan,
Barry Ungar,
Letta Mbulu,
Minutemen,
KRS-One,
Robert Wyatt,
Althea and Donna,
The American Breed,
Ornette Coleman,
Ludus,
Junior Murvin,
Yellowson,
Dawn Penn,
Khruangbin,
Mo-Dettes,
Visage,
Wire,
Sun Ra Arkestra,
James Chance & The Contortions,
Wolf Eyes,
Roy Ayers,
Louis and Bebe Barron,
Liliput,
Inner City,
Leonard Cohen,
John Cale,
48th St. Collective,
Stockholm Monsters,
Captain Beefheart & His Magic Band,
Mission of Burma,
Quadrant,
Lyres,
DJ Style,
Quando Quango,
Aswad,
Crooked Eye,
These Immortal Souls,
John Coltrane,
Swell Maps,
Barbara Tucker,
Dorothy Ashby,
Can,
Pole,
Harpers Bizarre,
Little Man,
Unrelated Segments,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.