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 Brunei and from Portland.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Pagans 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 Fort Wilson Riot. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every The Monochrome Set 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Glambeats Corp.,
Reagan Youth,
Idris Muhammad,
the Soft Cell,
JFA,
The Black Dice,
Moby Grape,
Jacques Brel,
Circle Jerks,
Be Bop Deluxe,
Davy DMX,
The Tremeloes,
Joe Smooth,
The Trojans,
Quadrant,
Joe Finger,
Larry & the Blue Notes,
Andrew Ashong & Theo Parrish,
The Dirtbombs,
New York Dolls,
Dr. Dre and Snoop Doggy Dog,
The Gories,
Man Eating Sloth,
Howard Jones,
The Fire Engines,
Ohio Players,
LL Cool J,
Eurythmics,
Talk Talk,
Maurizio,
Judy Mowatt,
MDC,
Morten Harket,
Suburban Knight,
Bill Wells,
Robert Hood,
The Doobie Brothers,
Underground Resistance,
New Age Steppers,
Jesper Dahlback,
T.S.O.L.,
Lower 48,
Kevin Saunderson,
The Selecter,
Sexual Harrassment,
Black Bananas,
Buzzcocks,
The Blackbyrds,
Tomorrow,
Pagans,
Urselle,
Fear,
Sandy B,
the Slits,
Johnny Clarke,
Kauko Röyhkä ja Narttu,
Josef K,
the Human League,
The Vogues,
Oblivians,
Theoretical Girls,
The Slackers,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.