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 Cambodia and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Eurythmics to the crunk kids.
I played it at the Roxy.
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 Public Image Ltd.. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every The Cramps 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Big Daddy Kane,
John Foxx,
Justin Hinds & The Dominoes,
Prince Buster,
Interpol,
La Düsseldorf,
Cal Tjader,
48th St. Collective,
Fat Boys,
Pylon,
Cymande,
The Fire Engines,
The Detroit Cobras,
Kings Of Tomorrow,
The Mummies,
Derrick May,
the Association,
Tears for Fears,
Y Pants,
Rhythm & Sound,
Agitation Free,
Little Man,
Supertramp,
The Slackers,
Electric Light Orchestra,
R.M.O.,
The Dead C,
Tomorrow,
The Divine Comedy,
Major Organ And The Adding Machine,
Flipper,
Mantronix,
Crispy Ambulance,
David McCallum,
Delon & Dalcan,
Bill Near,
Flash Fearless,
Shuggie Otis,
Average White Band,
Con Funk Shun,
the Sonics,
Spoonie Gee,
Marc Romboy vs. Booka Shade,
Sun Ra,
The Flesh Eaters,
Technova,
Symarip,
Freddie Wadling,
Idris Muhammad,
The Pretty Things,
Dave Gahan,
Jeru the Damaja,
Lee Hazlewood,
Zapp,
Pulsallama,
Art Ensemble Of Chicago,
the Bar-Kays,
Röyhkä ja Rättö ja Lehtisalo,
Brick,
Porter Ricks,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.