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 Korea North and from Johannesburg.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 Buzzcocks practice in a loft in Bolton.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Fat Boys to the rap 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 June Days. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every DJ Sneak record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Ice-T,
Loose Ends,
The Saints,
Godley & Creme,
The West Coast Pop Art Experimental Band,
The Star Department,
David Axelrod,
Brothers Johnson,
Kings Of Tomorrow,
The Modern Lovers,
Skaos,
The Detroit Cobras,
Josef K,
Jimmy McGriff,
Animal Collective,
Stereo Dub,
Quantec,
Rowland S Howard / Lydia Lunch,
Glambeats Corp.,
Ultravox,
Ludus,
Talk Talk,
Kool G Rap & DJ Polo,
Reagan Youth,
Sound Behaviour,
D'Angelo,
Faraquet,
Mark Hollis,
Kerri Chandler,
Matthew Bourne,
The Raincoats,
Eric Copeland,
Ajijia Myrayebe,
Jeru the Damaja,
Donny Hathaway,
Young Marble Giants,
Laurel Aitken,
Chrome,
Andrew Ashong & Theo Parrish,
Neil Young & Crazy Horse,
Moby Grape,
Traffic Nightmare,
The Red Krayola,
Yusef Lateef,
Zapp,
Grey Daturas,
Leonard Cohen,
Hashim,
Fela Kuti,
Pole,
Lou Reed,
John Holt,
Jesper Dahlback,
B.T. Express,
Mr. Review,
Altered Images,
Agent Orange,
Peter and Kerry,
Quadrant,
Adolescents,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.