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 Kosovo and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Manila and Houston.
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 sitar 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 Minutemen to the grime 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 ABC. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Inner City,
Arthur Verocai,
Freddie Wadling,
Pere Ubu,
Moebius,
Crispy Ambulance,
Bauhaus,
Toni Rubio,
Spandau Ballet,
Kevin Saunderson,
Sun City Girls,
Jacob Miller,
Bill Wells,
The Busters,
The Walker Brothers,
Marc Almond,
Ronnie Foster,
Nas,
Lou Reed,
Deutsch Amerikanische Freundschaft,
Con Funk Shun,
Robert Wyatt,
Unrelated Segments,
Nation of Ulysses,
Minutemen,
Ultimate Spinach,
Gang Gang Dance,
Gil Scott-Heron & Brian Jackson,
Andrew Ashong & Theo Parrish,
Reuben Wilson,
Radiohead,
E-Dancer,
Soul Sonic Force,
Joe Smooth,
The Music Machine,
The Slits,
Sex Pistols,
The Stooges,
Wire,
Sister Nancy,
A Flock of Seagulls,
Matthew Bourne,
Fat Boys,
Boogie Down Productions,
Accadde A,
Man Parrish,
Can,
Qualms,
The Victims,
Captain Beefheart & His Magic Band,
The Dead C,
The Divine Comedy,
F. McDonald,
Warren Ellis,
Gil Scott-Heron and Jamie xx,
Delta 5,
Essential Logic,
the Normal,
Archie Shepp,
Nik Kershaw,
Avey Tare & Kría Brekkan,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.