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 Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Taipei and Shanghai.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Johnny Clarke to the rap kids.
I played it at the Spitz.
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 Suburban Knight. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Black Bananas,
Goldenarms,
Eric Dolphy,
David Axelrod,
Crispian St. Peters,
Crime,
The Raincoats,
The Litter,
Heavy D & The Boyz,
Scientists,
Piero Umiliani,
Ornette Coleman,
Nick Fraelich,
Echospace,
Red Lorry Yellow Lorry,
The Standells,
Dave Gahan,
Index,
Technova,
10cc,
CMW,
Schoolly D,
Archie Shepp,
R.M.O.,
Heaven 17,
Dawn Penn,
Thompson Twins,
Terry Callier,
The Chocolate Watch Band,
Fear,
D'Angelo,
Bobby Hutcherson,
EPMD,
the Germs,
UT,
Radiopuhelimet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Avey Tare's Slasher Flicks,
Desert Stars,
Arcadia,
Notorious Big And Bone Thugs,
Marine Girls,
The Residents,
Kool Moe Dee,
Rowland S Howard / Lydia Lunch,
Sight & Sound,
James White and The Blacks,
Ultimate Spinach,
Babytalk,
Public Enemy,
X-102,
Main Source,
Excepter,
Hot Snakes,
Trumans Water,
Albert Ayler,
Pylon,
Ponytail,
Ronnie Foster,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.