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 Suriname 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 1964 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Edmonton.
I'm losing my edge to the art-school Milan 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Bronski Beat to the dance kids.
I played it at the Roxy.
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 ABBA. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Man Parrish,
Subhumans,
James Chance & The Contortions,
Jeru the Damaja,
Ludus,
Quando Quango,
Delon & Dalcan,
Blake Baxter,
Jerry Gold Smith,
Gil Scott-Heron and Jamie xx,
Marc Almond,
L. Decosne,
James White and The Blacks,
The Kinks,
Vladislav Delay,
Funkadelic,
Max Romeo,
The Cosmic Jokers,
Khruangbin,
Infiniti,
The Divine Comedy,
Strawberry Alarm Clock,
Graham Central Station,
Notorious Big And Bone Thugs,
Tears for Fears,
Angels of Light & Akron/Family,
The Count Five,
The Star Department,
The Buckinghams,
Minnie Riperton,
Mark Hollis,
Thinking Fellers Union Local 282,
Unrelated Segments,
These Immortal Souls,
Fatback Band,
Goldenarms,
Loose Ends,
Nirvana,
Derrick May,
MDC,
The Vogues,
the Soft Cell,
Gregory Isaacs,
The Smoke,
Rekid,
Slick Rick,
Mission of Burma,
The Remains,
The Smiths,
Index,
Camron Feat. Jay Z And Juelz,
One Last Wish,
Radiohead,
kango's stein massive,
U.S. Maple,
Pharoah Sanders,
The Moody Blues,
Sexual Harrassment,
the Association,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.