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 Malawi and from New York.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Salvador.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 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 Ornette Coleman to the grime kids.
I played it at the Spitz.
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 Byron Stingily. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Glambeats Corp.,
Frankie Knuckles,
Crispian St. Peters,
Bauhaus,
Ultimate Spinach,
E-Dancer,
Bang On A Can,
The Fortunes,
Barclay James Harvest,
Gregory Isaacs,
Youth Brigade,
Sparks,
Spandau Ballet,
Teenage Jesus and the Jerks,
The Moody Blues,
Ronnie Foster,
The New Christs,
Marine Girls,
Reagan Youth,
Notorious BIG live in Amsterdam,
The Music Machine,
Sugar Minott,
The Divine Comedy,
Nick Fraelich,
Brass Construction,
Zero Boys,
Chris Corsano,
Public Enemy,
Alton Ellis,
Second Layer,
Harry Pussy,
The Shadows of Knight,
The Moleskins,
Infiniti,
Susan Cadogan,
Au Pairs,
The Velvet Underground,
Deakin,
Barrington Levy,
Major Organ And The Adding Machine,
Arcadia,
The Human League,
Chris & Cosey,
The J.B.'s,
The Remains,
Rapeman,
Roxette,
Jeff Lynne,
Albert Ayler,
MC5,
Reuben Wilson,
Pharaoh Sanders and the Fire Engines,
Amazonics,
Ultramagnetic MC's,
Thompson Twins,
Strawberry Alarm Clock,
Dorothy Ashby,
Kool Moe Dee,
The Knickerbockers,
The Dave Clark Five,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.