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 Morocco and from Milan.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Cairo and Toronto.
I'm losing my edge to the art-school Mexico City 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 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 Public Enemy to the grunge 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 Underground Resistance. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Shuggie Otis 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Junior Murvin,
The Martian,
Talk Talk,
Wire,
Yellowson,
Sandy B,
Radiopuhelimet,
Lucky Dragons,
Slick Rick,
Gil Scott Heron,
Drexciya,
Ultravox,
China Crisis,
Connie Case,
The Mighty Diamonds,
The Walker Brothers,
Essential Logic,
Lee Hazlewood,
Half Japanese,
Roy Ayers,
Audionom,
JFA,
Zero Boys,
It's A Beautiful Day,
Stockholm Monsters,
Q and Not U,
The Modern Lovers,
Simply Red,
The Saints,
The Monochrome Set,
Notorious BIG live in Amsterdam,
Anakelly,
Chris & Cosey,
Johnny Clarke,
H. Thieme,
Groovy Waters,
Electric Light Orchestra,
Flash Fearless,
Tears for Fears,
Negative Approach,
In Retrospect,
Deakin,
Severed Heads,
the Human League,
James White and The Blacks,
Depeche Mode,
Delon & Dalcan,
Country Teasers,
FM Einheit,
Flipper,
Sound Behaviour,
Jawbox,
Carl Craig,
Heavy D & The Boyz,
The Trojans,
Royal Trux,
Boogie Down Productions,
Matthew Halsall,
David Axelrod,
Soft Machine,
The Count Five,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.