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 Cyprus and from Milan.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
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 808 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 ABC to the grunge kids.
I played it at the Crocodile.
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 N.O.R.E. Featuring Pharrell. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Mars,
Wighnomy Brothers & Robag Wruhme,
The Remains,
The Music Machine,
kango's stein massive,
Lyres,
Sex Pistols,
Deakin,
Moby Grape,
Electric Prunes,
Chris Corsano,
Liaisons Dangereuses,
Alison Limerick,
Maleditus Sound,
Echospace,
Magazine,
The Toasters,
Mark Hollis,
The Monks,
James Chance & The Contortions,
Fluxion,
Wire,
Unrelated Segments,
Eve St. Jones,
La Düsseldorf,
Deadbeat,
Smog,
Barclay James Harvest,
Peter & Gordon,
F. McDonald,
The Saints,
Pulsallama,
Barry Ungar,
Model 500,
The Jesus and Mary Chain,
Michelle Simonal,
Boogie Down Productions,
New Order,
Brand Nubian,
Camberwell Now,
Isaac Hayes,
Sarah Menescal,
the Germs,
Deepchord,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fear,
Bobby Womack,
The Move,
Kevin Saunderson,
Matthew Bourne,
Rakim,
The Names,
Yazoo,
Barrington Levy,
Byron Stingily,
Joy Division,
The Red Krayola,
Prince Buster,
Newcleus,
The Count Five, The Count Five, The Count Five, The Count Five.
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.