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 Madagascar and from Lagos.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Johannesburg 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Knickerbockers to the crunk 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 The Velvet Underground. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Icehouse 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
The Gun Club,
Roxette,
Pulsallama,
Alphaville,
Nik Kershaw,
Lonnie Liston Smith,
Albert Ayler,
Laurel Aitken,
Agitation Free,
Soft Cell,
Deakin,
Boogie Down Productions,
Derrick Morgan,
Mandrill,
The Doors,
Television,
Harpers Bizarre,
Gichy Dan,
The Five Americans,
D'Angelo,
Sandy B,
The Martian,
Anakelly,
Lungfish,
The Leaves,
Electric Prunes,
Aural Exciters,
Ralphi Rosario,
Sad Lovers and Giants,
Gabor Szabo,
Marshall Jefferson,
The Names,
Skaos,
Harmonia,
Maleditus Sound,
Robert Hood,
Silicon Teens,
A Certain Ratio,
New Order,
LL Cool J,
Marmalade,
Bad Manners,
Josef K,
Kings Of Tomorrow,
The West Coast Pop Art Experimental Band,
Barry Ungar,
Marc Romboy vs. Booka Shade,
Moss Icon,
The Cramps,
Jesper Dahlback,
Bizarre Inc.,
These Immortal Souls,
Dual Sessions,
Bang On A Can,
Jacques Brel,
The Buckinghams,
Pere Ubu,
Slave,
Bang on a Can All-Stars,
Major Organ And The Adding Machine,
Lou Reed & Metallica,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.