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 Jamaica and from New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Mexico City.
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 marimba sounds with much patience.
I was there when Michael McDonald 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 Tom Boy to the jazz kids.
I played it at Cafe Wha.
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 Nas. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Stetsasonic,
Public Image Ltd.,
Tommy Roe,
The Index,
Arcadia,
Boogie Down Productions,
Kings Of Tomorrow,
Howard Jones,
The Peanut Butter Conspiracy,
The Evens,
Be Bop Deluxe,
John Foxx,
Qualms,
X-Ray Spex,
Minny Pops,
Carl Craig,
The Five Americans,
The Black Dice,
Q65,
Patti Smith,
The Associates,
Unrelated Segments,
Steve Hackett,
the Sonics,
Half Japanese,
Lou Reed & John Cale,
KRS-One,
The Golliwogs,
Rekid,
Young Marble Giants,
The Young Rascals,
Surgeon,
Terrestrial Tones,
The Cramps,
Rod Modell,
Roy Ayers Ubiquity,
The West Coast Pop Art Experimental Band,
Ponytail,
Yusef Lateef,
Bang On A Can,
Bobbi Humphrey,
Gil Scott-Heron and Jamie xx,
Cymande,
Tears for Fears,
Soul II Soul,
Gastr Del Sol,
The Cowsills,
Heavy D & The Boyz,
The Litter,
Althea and Donna,
Chris Corsano,
Rhythim Is Rhythim,
The Blackbyrds,
Siglo XX,
Frankie Knuckles,
Scott Walker + Sunn O))),
Piero Umiliani,
Davy DMX,
Sparks,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.