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 Burundi and from New York.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Winnipeg.
I'm losing my edge to the art-school Halifax 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba 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 Smiths to the jazz kids.
I played it at Trash.
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 Franke. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal rap 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Pantytec,
Trumans Water,
Max Romeo,
Cecil Taylor,
Banda Bassotti,
Bill Near,
The Move,
The Offenders,
Pussy Galore,
Erasure,
The Real Kids,
Vladislav Delay,
Q and Not U,
Arthur Verocai,
Kerrie Biddell,
Severed Heads,
The Monochrome Set,
The Standells,
Jerry Gold Smith,
Hashim,
Subhumans,
Minutemen,
Sam Rivers,
Letta Mbulu,
Oppenheimer Analysis,
the Bar-Kays,
The Moody Blues,
Mr. Review,
X-Ray Spex,
Public Image Ltd.,
Intrusion,
Minor Threat,
The American Breed,
Dennis Brown,
Rod Modell,
Moss Icon,
Pole,
Sticky Fingaz feat. Raekwon,
LL Cool J,
Brass Construction,
Livin' Joy,
Curtis Mayfield,
Zero Boys,
the Association,
Faraquet,
Visage,
48th St. Collective,
The Zeros,
Supertramp,
Throbbing Gristle,
Funky Four + One,
Andrew Ashong & Theo Parrish,
Ludus,
Bauhaus,
Los Fastidios,
DeepChord presents Echospace,
Excepter,
Interpol,
Ornette Coleman,
Sugar Minott,
Yazoo,
The Red Krayola,
Groovy Waters,
Aswad, Aswad, Aswad, Aswad.
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.