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 Oman and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1979.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Houston 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 Black Bananas to the disco 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 Shoche. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Scion 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Angels of Light & Akron/Family record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Red Krayola,
The Selecter,
Cal Tjader,
Glambeats Corp.,
Stockholm Monsters,
Pantytec,
La Düsseldorf,
Au Pairs,
Siouxsie and the Banshees,
The Neon Judgement,
Gil Scott Heron,
Bobbi Humphrey,
Nico,
Babytalk,
Soulsonic Force,
Angry Samoans,
Parry Music,
Brick,
Suicide,
The Jesus and Mary Chain,
B.T. Express,
Bang On A Can,
Crash Course in Science,
The Fortunes,
a-ha,
Monks,
Swell Maps,
Scion,
The West Coast Pop Art Experimental Band,
Minor Threat,
Drive Like Jehu,
Johnny Osbourne,
The Evens,
Avey Tare & Kría Brekkan,
The Walker Brothers,
Ken Boothe,
Shoche,
Trumans Water,
Mars,
Danielle Patucci,
Vaughan Mason & Crew,
Supertramp,
Stetsasonic,
The Blues Magoos,
Fela Kuti,
Sixth Finger,
John Holt,
Jeru the Damaja,
Kas Product,
The Chocolate Watch Band,
the Association,
the Human League,
Whodini,
This Heat,
Matthew Bourne,
Cecil Taylor,
Gregory Isaacs,
Barclay James Harvest,
Oppenheimer Analysis,
Big Daddy Kane,
Alton Ellis,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.