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 Denmark and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Lagos 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 oboe 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 Echo & the Bunnymen to the jazz 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 Idris Muhammad. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar 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 sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Black Bananas,
Minor Threat,
Fort Wilson Riot,
the Human League,
Godley & Creme,
Flash Fearless,
Sparks,
The Busters,
Steve Hackett,
Avey Tare & Kría Brekkan,
Beasts of Bourbon,
Man Parrish,
Notorious BIG live in Amsterdam,
James White and The Blacks,
10cc,
New York Dolls,
Rosa Yemen,
Sexual Harrassment,
Magma,
Index,
The Walker Brothers,
The Dave Clark Five,
Major Organ And The Adding Machine,
Crime,
Blake Baxter,
Bobbi Humphrey,
Man Eating Sloth,
the Germs,
Davy DMX,
the Normal,
The Standells,
Cecil Taylor,
The Techniques,
Aswad,
Bush Tetras,
Barrington Levy,
Andrew Hill,
The Pop Group,
Barclay James Harvest,
The Stooges,
Terry Callier,
Barbara Tucker,
The Cramps,
Swell Maps,
Rites of Spring,
Camberwell Now,
Mr. Review,
The Fortunes,
Jeru the Damaja,
Wire,
Visage,
Louis and Bebe Barron,
Derrick Morgan,
Sad Lovers and Giants,
Sixth Finger,
Jeff Lynne,
Wally Richardson,
Monks,
Jeff Mills,
Ken Boothe,
Glambeats Corp.,
the Soft Cell,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.