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 Slovakia and from Houston.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Accra 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 theremin sounds with much patience.
I was there when Michael McDonald 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 The West Coast Pop Art Experimental Band to the grime 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 JFA. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Johnny Osbourne,
Young Marble Giants,
It's A Beautiful Day,
DeepChord presents Echospace,
the Fania All-Stars,
Panda Bear,
Grandmaster Flash,
Gong,
Buzzcocks,
Tres Demented,
The Royal Family And The Poor,
X-101,
Rekid,
Letta Mbulu,
June of 44,
Yaz,
De La Soul & Jungle Brothers,
Dual Sessions,
Masters at Work,
Jeff Mills,
Sunsets and Hearts,
Donald Byrd,
The Cowsills,
Jerry's Kids,
Metal Thangz,
The Beau Brummels,
The Victims,
Stiv Bators,
8 Eyed Spy,
the Sonics,
Barclay James Harvest,
Amon Düül II,
The Jesus and Mary Chain,
Sex Pistols,
Terry Callier,
Cal Tjader,
Skarface,
Patti Smith,
New York Dolls,
Vladislav Delay,
Liaisons Dangereuses,
Pulsallama,
Section 25,
Terrestrial Tones,
Maurizio,
Althea and Donna,
The Raincoats,
the Germs,
Public Enemy,
Slick Rick,
Smog,
Heaven 17,
Bauhaus,
Moebius,
Blancmange,
The Sisters of Mercy,
Black Flag,
Das Ding,
Fifty Foot Hose,
Blake Baxter,
Bronski Beat,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.