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 South Africa and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Edmonton 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 spring reverb 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 Tommy Roe to the rock kids.
I played it at Cafe Wha.
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 Skaos. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Grandmaster Flash 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Johnny Clarke,
Flipper,
DNA,
Joey Negro,
Grandmaster Flash and the Furious Five,
AZ,
Ice-T,
Alison Limerick,
Negative Approach,
Althea and Donna,
Simply Red,
Bobby Sherman,
Gang Green,
Aloha Tigers,
Monks,
Harpers Bizarre,
Laurel Aitken,
the Sonics,
Gerry Rafferty,
Easy Going,
T.S.O.L.,
The Cure,
Procol Harum,
June of 44,
Kevin Saunderson,
Drive Like Jehu,
Kurtis Blow,
Cymande,
Hoover,
Infiniti,
Bob Dylan,
Eddi Front,
Babytalk,
Susan Cadogan,
JFA,
Duran Duran,
Barclay James Harvest,
Eden Ahbez,
Dorothy Ashby,
Inner City,
Japan,
Cal Tjader,
the Soft Cell,
Index,
The Gun Club,
The Remains,
Rakim,
Junior Murvin,
The Flesh Eaters,
In Retrospect,
Panda Bear,
Half Japanese,
Black Pus,
Nick Fraelich,
Alice Coltrane,
The Electric Prunes,
Dark Day,
Television,
Sam Rivers,
Aural Exciters,
Ituana,
Arcadia, Arcadia, Arcadia, Arcadia.
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.