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 Honduras and from Milan.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 KRS-One to the grime 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 Ultimate Spinach. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Gastr Del Sol,
Ornette Coleman,
Guru Guru,
Fear,
Larry & the Blue Notes,
The Slackers,
Barrington Levy,
Brick,
Mary Jane Girls,
Cluster,
Scientists,
Simply Red,
Duran Duran,
Little Man,
Radio Birdman,
Magma,
Ultramagnetic MC's,
Soul Sonic Force,
Gil Scott-Heron & Brian Jackson,
Pet Shop Boys,
the Normal,
The Monochrome Set,
B.T. Express,
Dead Boys,
Sällskapet,
The Victims,
Ultravox,
Fatback Band,
Isaac Hayes,
Brand Nubian,
Todd Rundgren,
Pete Rock & C.L. Smooth,
Negative Approach,
Connie Case,
Jesper Dahlbäck,
Sly & The Family Stone,
Todd Terry,
Theoretical Girls,
Moss Icon,
The Sisters of Mercy,
Roy Ayers,
Reagan Youth,
Saccharine Trust,
MDC,
Echospace,
Donald Byrd,
Thompson Twins,
Selector Dub Narcotic,
10cc,
Kool Moe Dee,
Whodini,
U.S. Maple,
Ken Boothe,
the Soft Cell,
Peter & Gordon,
Massinfluence,
Unwound,
The Cure,
Byron Stingily,
Gang Starr,
Rapeman,
Black Bananas,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.