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 Rwanda and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1967 to 1970.
I'm losing my edge.
To all the kids in Accra and Tokyo.
I'm losing my edge to the art-school Toronto 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 Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Terror Squad Feat. Camron to the dance kids.
I played it at the 40 Watt.
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 Jerry Gold Smith. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Audionom,
Gerry Rafferty,
Tom Boy,
Davy DMX,
Chris Corsano,
The Smiths,
London Community Gospel Choir,
John Lydon,
Chris & Cosey,
The J.B.'s,
Robert Wyatt,
Lafayette Afro Rock Band,
Erykah Badu,
Barrington Levy,
Yazoo,
Magazine,
The Angels of Light,
Zero Boys,
Gichy Dan,
Grandmaster Flash,
Donny Hathaway,
Stereo Dub,
This Heat,
Porter Ricks,
Camberwell Now,
Model 500,
Mark Hollis,
The Durutti Column,
The Doors,
DNA,
The Skatalites,
Louis and Bebe Barron,
Marc Almond,
The Grass Roots,
Absolute Body Control,
Rotary Connection,
June of 44,
Siouxsie and the Banshees,
Laurel Aitken,
H. Thieme,
Ronnie Foster,
The Wake,
Reagan Youth,
Traffic Nightmare,
Brick,
Amazonics,
The Men They Couldn't Hang,
The Fortunes,
Crispian St. Peters,
The Raincoats,
Bill Near,
Hoover,
The Fall,
Pere Ubu,
Nas,
Jeru the Damaja,
Eddi Front,
Sun Ra Arkestra,
Jerry Gold Smith,
Television Personalities,
Mars,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.