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 Vietnam and from Glasgow.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Manila and Lagos.
I'm losing my edge to the art-school Houston 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 rhodes 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 Byron Stingily to the electroclash kids.
I played it at the Hacienda.
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 Inner City. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Massinfluence 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Bronski Beat,
Wighnomy Brothers & Robag Wruhme,
R.M.O.,
Ralphi Rosario,
MDC,
Derrick Morgan,
Stereo Dub,
Röyhkä ja Rättö ja Lehtisalo,
Joyce Sims,
The Victims,
Scion,
Sun Ra,
F. McDonald,
Marshall Jefferson,
Judy Mowatt,
Kerri Chandler,
Masters at Work,
The West Coast Pop Art Experimental Band,
Guru Guru,
Aswad,
Index,
Tres Demented,
Desert Stars,
KRS-One,
Ludus,
Ken Boothe,
The Fire Engines,
Ituana,
Kas Product,
Fat Boys,
cv313,
Black Flag,
Shoche,
Bob Dylan,
Moby Grape,
Model 500,
Soft Cell,
Peter & Gordon,
Cameo,
Quantec,
Loose Ends,
Nirvana,
Heavy D & The Boyz,
Inner City,
The Fuzztones,
Erykah Badu,
Ajijia Myrayebe,
DJ Sneak,
Goldenarms,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Moody Blues,
Con Funk Shun,
Ohio Players,
Blancmange,
The Trojans,
Frankie Knuckles,
Red Lorry Yellow Lorry,
It's A Beautiful Day,
Faust,
Jandek,
Fifty Foot Hose,
Von Mondo,
Adolescents, Adolescents, Adolescents, Adolescents.
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.