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 Iran and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1976.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Grandmaster Flash to the rap kids.
I played it at the Crocodile.
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 of 44. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every MC5 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Kevin Saunderson,
The Beau Brummels,
Kerri Chandler,
Hardrive,
Rowland S Howard / Lydia Lunch,
Ornette Coleman,
the Soft Cell,
cv313,
Ohio Players,
Deepchord,
Cybotron,
Buzzcocks,
Electric Prunes,
Lightning Bolt,
Scan 7,
Agent Orange,
Joyce Sims,
The Black Dice,
Pantytec,
Wally Richardson,
Warren Ellis,
Marc Almond,
Beasts of Bourbon,
Faust,
These Immortal Souls,
The Monochrome Set,
Notorious BIG live in Amsterdam,
The Golliwogs,
AZ,
The Busters,
The Selecter,
Oppenheimer Analysis,
The Cowsills,
Soulsonic Force,
Soul II Soul,
The Happenings,
The Human League,
Saccharine Trust,
Nils Olav,
Bush Tetras,
Cymande,
Blancmange,
The Detroit Cobras,
Connie Case,
Rotary Connection,
Youth Brigade,
A Certain Ratio,
Marine Girls,
Technova,
Dorothy Ashby,
Black Bananas,
Quando Quango,
Nas,
Letta Mbulu,
The Shadows of Knight,
Index,
Josef K,
Fugazi,
X-101,
Lafayette Afro Rock Band,
The Fuzztones,
Tubeway Army,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.