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 Japan and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Copenhagen 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 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 Nation of Ulysses to the grunge 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 Charles Mingus. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every The Detroit Cobras 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Babytalk,
Delta 5,
Kerri Chandler,
Mo-Dettes,
Crooked Eye,
The Wake,
Tim Buckley,
Rotary Connection,
Eric Dolphy,
Chris Corsano,
the Association,
The Move,
Audionom,
Juan Atkins,
The Leaves,
The Cure,
Dark Day,
Monks,
Archie Shepp,
Parry Music,
Kool G Rap & DJ Polo,
The Motions,
Bill Wells,
Lee Hazlewood,
Matthew Halsall,
Bill Near,
Glambeats Corp.,
The Fire Engines,
Ituana,
Skarface,
Smog,
The Music Machine,
Marmalade,
Art Ensemble Of Chicago,
Vainqueur,
Bootsy's Rubber Band,
Oneida,
Wally Richardson,
Camberwell Now,
Clear Light,
Rosa Yemen,
Banda Bassotti,
Eyeless In Gaza,
Visionaries,LMNO, T- Love & Iriscience,
Ice-T,
Hot Snakes,
Kenny Larkin,
Section 25,
Tears for Fears,
Neu!,
Dave Gahan,
Oblivians,
Sticky Fingaz feat. Raekwon,
John Coltrane,
the Fania All-Stars,
JFA,
Index,
Young Marble Giants,
Brothers Johnson,
The Doors, The Doors, The Doors, The Doors.
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.