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 Spain and from Columbus.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Crime to the techno 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 Audionom. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Rites of Spring,
Delon & Dalcan,
Symarip,
The Happenings,
Joyce Sims,
Avey Tare,
Mantronix,
Lebanon Hanover,
Siouxsie and the Banshees,
The Blackbyrds,
Organ,
Con Funk Shun,
The Fall,
Connie Case,
London Community Gospel Choir,
Chris & Cosey,
John Coltrane,
Piero Umiliani,
Pharaoh Sanders and the Fire Engines,
Marshall Jefferson,
Niagra,
Scratch Acid,
Nick Fraelich,
Negative Approach,
Dead Boys,
Kaleidoscope,
Bill Wells,
Maleditus Sound,
Flash Fearless,
Barbara Tucker,
Gregory Isaacs,
Donny Hathaway,
Metal Thangz,
Q65,
Marvin Gaye,
The Jesus and Mary Chain,
Nation of Ulysses,
Man Parrish,
Cal Tjader,
Al Stewart,
The American Breed,
The Vogues,
Lou Reed,
Sound Behaviour,
Rosa Yemen,
Thinking Fellers Union Local 282,
Camouflage,
The Electric Prunes,
The Men They Couldn't Hang,
Manfred Mann's Earth Band,
Jacques Brel,
The Mummies,
The Grass Roots,
Grandmaster Flash,
Arthur Verocai,
In Retrospect,
The Detroit Cobras,
Ajijia Myrayebe,
The Last Poets,
The Martian,
Clear Light, Clear Light, Clear Light, Clear Light.
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.