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 Bhutan and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1973.
I'm losing my edge.
To all the kids in Salvador and Accra.
I'm losing my edge to the art-school Lyon 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 808 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 Parry Music 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 Sunsets and Hearts. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Rites of Spring record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Cecil Taylor,
Jeff Lynne,
New York Dolls,
Mission of Burma,
Sonny Sharrock,
Can,
Make Up,
Pet Shop Boys,
Nico,
The Busters,
Neil Young,
Severed Heads,
Pere Ubu,
Iggy Pop,
Roxy Music,
Accadde A,
The Cramps,
June of 44,
The Smoke,
Funky Four + One,
Boogie Down Productions,
Vladislav Delay,
Red Lorry Yellow Lorry,
Dennis Brown,
Oppenheimer Analysis,
Blossom Toes,
Underground Resistance,
The Blues Magoos,
The Black Dice,
Kool Moe Dee,
The Martian,
Camberwell Now,
T.S.O.L.,
Organ,
Dual Sessions,
Tropical Tobacco,
The Jesus and Mary Chain,
Q and Not U,
kango's stein massive,
Stereo Dub,
Rosa Yemen,
Aaron Thompson,
Mr. Review,
Sad Lovers and Giants,
Youth Brigade,
Tom Boy,
Sight & Sound,
Jawbox,
Suicide,
Rapeman,
Skarface,
Maleditus Sound,
Bush Tetras,
Siouxsie and the Banshees,
The Moleskins,
Bill Near,
a-ha,
Faraquet,
The Moody Blues,
Trumans Water,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.