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 Eritrea and from Delhi.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Manila 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Clear Light to the grime 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 Vaughan Mason & Crew. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every DJ Sneak 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Byron Stingily,
David Bowie,
Trumans Water,
Gian Franco Pienzio,
Warsaw,
Chris Corsano,
Massinfluence,
Scratch Acid,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Todd Terry,
Stetsasonic,
Dennis Brown,
Crash Course in Science,
Franke,
the Slits,
Ten City,
Crooked Eye,
The Real Kids,
Strawberry Alarm Clock,
The Moody Blues,
World's Most,
Gastr Del Sol,
Roxette,
Rakim,
Davy DMX,
Jacob Miller,
Bizarre Inc.,
London Community Gospel Choir,
Barbara Tucker,
Rhythm & Sound,
Outsiders,
Boz Scaggs,
The Remains,
a-ha,
The Star Department,
Scientists,
Tropical Tobacco,
Lungfish,
Fluxion,
The Sound,
June of 44,
Amon Düül II,
Beasts of Bourbon,
The Toasters,
Erykah Badu,
The Gap Band,
The Chocolate Watch Band,
the Germs,
Sound Behaviour,
Rosa Yemen,
Liaisons Dangereuses,
Brass Construction,
The Gladiators,
Andrew Hill,
The Peanut Butter Conspiracy,
The Dave Clark Five,
Peter and Kerry,
Cymande,
The Divine Comedy,
Moebius,
The Black Dice,
Public Image Ltd.,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.