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 Malawi and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Bologna 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 The Searchers to the electroclash 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 Funky Four + One. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Marine Girls 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Sight & Sound,
The Jesus and Mary Chain,
Be Bop Deluxe,
James Chance & The Contortions,
The New Christs,
The Five Americans,
Brothers Johnson,
the Fania All-Stars,
Pete Rock & C.L. Smooth,
Idris Muhammad,
JFA,
Echospace,
The Standells,
The Monochrome Set,
Kas Product,
The Kinks,
F. McDonald,
Hot Snakes,
Tommy Roe,
Sonny Sharrock,
48th St. Collective,
Fela Kuti,
X-102,
Avey Tare,
Blancmange,
Lucky Dragons,
Eddi Front,
The Mummies,
The Gun Club,
Joensuu 1685,
Lalann,
Freddie Wadling,
Dennis Brown,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Traffic Nightmare,
Deepchord,
Index,
Connie Case,
Stockholm Monsters,
Porter Ricks,
Deadbeat,
The Durutti Column,
Schoolly D,
Alphaville,
Bobby Womack,
Althea and Donna,
Ossler,
The Doobie Brothers,
DJ Sneak,
Gil Scott-Heron and Jamie xx,
Lindisfarne,
Erasure,
The Selecter,
Stiv Bators,
X-101,
Sun City Girls,
Roxette,
MDC,
Nirvana,
The Cowsills,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.