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 Croatia and from Manchester.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Bremen 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Fear to the grunge 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 Iggy Pop. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your snare and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
The Jesus and Mary Chain,
Judy Mowatt,
Kool Moe Dee,
The Real Kids,
Harpers Bizarre,
Grandmaster Flash and the Furious Five,
Aural Exciters,
Lalo Schifrin,
Grauzone,
Pulsallama,
The Electric Prunes,
Sonic Youth,
R.M.O.,
The Residents,
Mars,
Little Man,
The Barracudas,
The Blues Magoos,
Blossom Toes,
Rosa Yemen,
Thinking Fellers Union Local 282,
Lower 48,
Faust,
John Lydon,
Johnny Clarke,
Josef K,
Teenage Jesus and the Jerks,
The Mummies,
Audionom,
Nik Kershaw,
One Last Wish,
Organ,
The Doobie Brothers,
Royal Trux,
Ajijia Myrayebe,
Metal Thangz,
Tim Buckley,
CMW,
The Gun Club,
Ronnie Foster,
The Dave Clark Five,
Ultra Naté,
Shuggie Otis,
Max Romeo,
Marc Romboy vs. Booka Shade,
The Star Department,
Half Japanese,
Vladislav Delay,
Yaz,
The Tremeloes,
Letta Mbulu,
Qualms,
The Techniques,
Bobby Womack,
Rekid,
Black Moon,
Cymande,
The Saints,
Altered Images,
Notorious BIG live in Amsterdam,
Wire, Wire, Wire, Wire.
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.