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 India and from Taipei.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Terrestrial Tones to the rap kids.
I played it at Trash.
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 Crime. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Organ 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Reuben Wilson,
Brothers Johnson,
Silicon Teens,
Can,
The Motions,
Niagra,
Slave,
Jandek,
Goldenarms,
Thee Headcoats,
New Age Steppers,
John Foxx,
Minor Threat,
The Doors,
The Cramps,
Black Bananas,
Depeche Mode,
Saccharine Trust,
Boogie Down Productions,
B.T. Express,
Angels of Light & Akron/Family,
Derrick Morgan,
Fatback Band,
Gregory Isaacs,
Justin Hinds & The Dominoes,
Warsaw,
Jacob Miller,
Morten Harket,
Robert Wyatt,
Liliput,
Pussy Galore,
The Alarm Clocks,
Radio Birdman,
Monolake,
Janne Schatter,
Amon Düül II,
Marvin Gaye,
Junior Murvin,
Japan,
John Coltrane,
Television,
Rhythm & Sound,
The Velvet Underground,
Agitation Free,
Brass Construction,
Art Ensemble Of Chicago,
Avey Tare's Slasher Flicks,
The Doobie Brothers,
Audionom,
Idris Muhammad,
Procol Harum,
Steve Hackett,
Larry & the Blue Notes,
Pagans,
Rosa Yemen,
Ultravox,
Hashim,
The Fortunes,
Underground Resistance,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.