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 Finland and from Lyon.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Hong Kong.
I'm losing my edge to the art-school Mumbai 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 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 Chris & Cosey to the dance kids.
I played it at the Hacienda.
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 Art Ensemble Of Chicago. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Pharaoh Sanders and the Fire Engines,
Ultravox,
Cymande,
The Cosmic Jokers,
Smog,
Sad Lovers and Giants,
Idris Muhammad,
AZ,
T. Rex,
CMW,
Pere Ubu,
The Alarm Clocks,
Minny Pops,
Ornette Coleman,
Chris & Cosey,
Steve Hackett,
Tubeway Army,
Babytalk,
Scan 7,
Lindisfarne,
The Cowsills,
Delon & Dalcan,
The Victims,
Alison Limerick,
Joe Smooth,
Joey Negro,
Glambeats Corp.,
Sonny Sharrock,
Red Lorry Yellow Lorry,
Fela Kuti,
Colin Newman,
Nick Fraelich,
Rowland S Howard / Lydia Lunch,
Icehouse,
Danielle Patucci,
Maleditus Sound,
Barrington Levy,
Sunsets and Hearts,
The Searchers,
Liaisons Dangereuses,
ABC,
Surgeon,
The Busters,
John Lydon,
Circle Jerks,
The Music Machine,
Brass Construction,
The Stooges,
Dawn Penn,
John Coltrane,
ABBA,
Blake Baxter,
Sticky Fingaz feat. Raekwon,
Sun Ra,
Erykah Badu,
Pole,
Gregory Isaacs,
Slick Rick,
Lucky Dragons,
Yazoo,
Eurythmics,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.