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 Panama and from Winnipeg.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
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 Mark Hollis to the techno 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 Scrapy. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Flamin' Groovies,
New Order,
Ultramagnetic MC's,
The Modern Lovers,
Dr. Dre and Snoop Doggy Dog,
The Doors,
Outsiders,
Robert Görl,
A Certain Ratio,
Flipper,
Aaron Thompson,
Sun Ra,
10cc,
Half Japanese,
Quando Quango,
Television Personalities,
The West Coast Pop Art Experimental Band,
Au Pairs,
Rekid,
Fatback Band,
Make Up,
Eric B and Rakim,
Major Organ And The Adding Machine,
Cal Tjader,
B.T. Express,
Masters at Work,
Funkadelic,
Fela Kuti,
Bluetip,
Frankie Knuckles,
48th St. Collective,
Susan Cadogan,
Be Bop Deluxe,
Radiopuhelimet,
Tubeway Army,
The Golliwogs,
CMW,
Television,
Average White Band,
OOIOO,
Black Moon,
The Smoke,
The Alarm Clocks,
Wasted Youth,
The Velvet Underground,
Angry Samoans,
Boz Scaggs,
DJ Style,
Aloha Tigers,
Swans,
Red Lorry Yellow Lorry,
Rahsaan Roland Kirk,
Camberwell Now,
Selector Dub Narcotic,
Jeff Mills,
Joyce Sims,
Tomorrow,
Dave Gahan,
Lindisfarne,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.