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 Kazakhstan and from Johannesburg.
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 1976.
I'm losing my edge.
To all the kids in Edmonton and Paris.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Gil Scott-Heron & Brian Jackson to the grime kids.
I played it at CBGB's.
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 Richard Hell and the Voidoids. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
The Index,
Jawbox,
Quantec,
Soul Sonic Force,
Maleditus Sound,
Kerrie Biddell,
Chris & Cosey,
Cymande,
Marmalade,
Fad Gadget,
The Dirtbombs,
The Selecter,
Orchestral Manoeuvres in the Dark,
Curtis Mayfield,
Dr. Dre and Snoop Doggy Dog,
Aural Exciters,
Connie Case,
Rosa Yemen,
Junior Murvin,
The Pretty Things,
Morten Harket,
the Soft Cell,
Whodini,
Pulsallama,
The Real Kids,
Sunsets and Hearts,
Fort Wilson Riot,
Crispian St. Peters,
Eden Ahbez,
The Cosmic Jokers,
The Alarm Clocks,
The Fire Engines,
U.S. Maple,
Amazonics,
David Axelrod,
Buzzcocks,
Tim Buckley,
The Doobie Brothers,
Darondo,
Ornette Coleman,
New Age Steppers,
Ultra Naté,
Howard Jones,
Bobby Sherman,
Byron Stingily,
Tomorrow,
Gil Scott-Heron & Brian Jackson,
Audionom,
The Misunderstood,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Mummies,
Lucky Dragons,
Arthur Verocai,
This Heat,
The West Coast Pop Art Experimental Band,
The Happenings,
Robert Hood,
Warren Ellis,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.