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 Israel and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Jakarta 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 marimba sounds with much patience.
I was there when Lou Reed 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 Stetsasonic to the jazz 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 Flipper. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your organ and bought a güiro.
I hear that you and your band have sold your güiro and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Eric B and Rakim,
Boz Scaggs,
The Standells,
Guru Guru,
Moby Grape,
Terrestrial Tones,
James Chance & The Contortions,
Rowland S Howard / Lydia Lunch,
The Blues Magoos,
Symarip,
Fugazi,
Todd Terry,
Tears for Fears,
Soul II Soul,
Eli Mardock,
Little Man,
Tomorrow,
Thinking Fellers Union Local 282,
Visionaries,LMNO, T- Love & Iriscience,
Oppenheimer Analysis,
Gregory Isaacs,
Excepter,
Lungfish,
Roy Ayers Ubiquity,
Circle Jerks,
Michelle Simonal,
the Germs,
Stiv Bators,
Mary Jane Girls,
Mad Mike,
L. Decosne,
Kauko Röyhkä ja Narttu,
Blake Baxter,
The Electric Prunes,
10cc,
Monolake,
Pole,
Neil Young,
UT,
Desert Stars,
The Star Department,
Letta Mbulu,
Girls At Our Best!,
Marcia Griffiths,
Chris Corsano,
Grandmaster Flash,
Ituana,
Shuggie Otis,
Q and Not U,
Pharaoh Sanders and the Fire Engines,
Mars,
Warsaw,
Quantec,
Skarface,
Sam Rivers,
the Slits,
Gang of Four,
Gong,
X-Ray Spex,
Terry Callier,
The Saints, The Saints, The Saints, The Saints.
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.