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 Namibia and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Woodstock 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 Robert Palmer 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 De La Soul & Jungle Brothers 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 Kerrie Biddell. All the underground hits.
All Television tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Pharaoh Sanders and the Fire Engines,
Barry Ungar,
Kenny Larkin,
Patti Smith,
the Normal,
X-101,
Harry Pussy,
Guru Guru,
Glambeats Corp.,
Skriet,
Arthur Verocai,
Colin Newman,
Rekid,
Bang on a Can All-Stars,
The Index,
Cheater Slicks,
Joyce Sims,
Monolake,
The Wake,
E-Dancer,
The Music Machine,
Main Source,
Saccharine Trust,
Ice-T,
Visage,
L. Decosne,
Shoche,
Hot Snakes,
Nico,
The Knickerbockers,
Rakim,
Electric Light Orchestra,
Art Ensemble Of Chicago,
Crooked Eye,
The Leaves,
Trumans Water,
Judy Mowatt,
Lizzy Mercier Descloux,
Shuggie Otis,
Super Lover Cee & Casanova Rud,
The Pretty Things,
The Stooges,
Fluxion,
Harmonia,
Motorama,
Kerri Chandler,
Robert Hood,
Gang of Four,
Alice Coltrane,
The Neon Judgement,
Dr. Dre and Snoop Doggy Dog,
The Blackbyrds,
Bobby Sherman,
Ronnie Foster,
Yusef Lateef,
Vladislav Delay,
Ronan,
Fatback Band,
The Monks,
Frankie Knuckles,
David McCallum,
Davy DMX,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.