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 Tajikistan and from Paris.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Lille 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 arpeggiator 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 Sarah Menescal to the jazz kids.
I played it at the 40 Watt.
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 The Cramps. All the underground hits.
All Wire tracks. I heard you have a vinyl of every June of 44 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Ponytail,
The United States of America,
Eyeless In Gaza,
The Mojo Men,
Jesper Dahlbäck,
The Zeros,
Quando Quango,
Ultramagnetic MC's,
Radiohead,
Lower 48,
Adolescents,
David Axelrod,
Bobbi Humphrey,
Gil Scott-Heron and Jamie xx,
The Raincoats,
Reagan Youth,
Minny Pops,
Andrew Ashong & Theo Parrish,
Nirvana,
Can,
Chrome,
Barrington Levy,
The American Breed,
Sällskapet,
Gian Franco Pienzio,
The Motions,
FM Einheit,
The Move,
Television Personalities,
Notorious Big And Bone Thugs,
Aural Exciters,
Scratch Acid,
Minnie Riperton,
Alice Coltrane,
Scrapy,
Dorothy Ashby,
Talk Talk,
Davy DMX,
Deadbeat,
Underground Resistance,
Wire,
Gil Scott Heron,
Girls At Our Best!,
Traffic Nightmare,
The Fuzztones,
Captain Beefheart & His Magic Band,
Terry Callier,
This Heat,
Scott Walker,
Donald Byrd,
Agent Orange,
David Bowie,
The Sisters of Mercy,
Brick,
Vladislav Delay,
MDC,
Röyhkä ja Rättö ja Lehtisalo,
ABBA,
The Seeds,
T. Rex,
Japan, Japan, Japan, Japan.
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.