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 Haiti and from Tokyo.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Cairo 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 sitar 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 Fugazi to the rock kids.
I played it at the Crocodile.
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 The Five Americans. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Zapp 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 '80s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Minnie Riperton,
Lee Hazlewood,
Cabaret Voltaire,
Fluxion,
Alison Limerick,
The Detroit Cobras,
Crash Course in Science,
Cybotron,
The Mighty Diamonds,
The Techniques,
Bobby Byrd,
Urselle,
Malaria!,
James Chance & The Contortions,
Lightning Bolt,
The Fuzztones,
Funkadelic,
DNA,
the Slits,
Be Bop Deluxe,
Quadrant,
Yusef Lateef,
Ultimate Spinach,
David Axelrod,
F. McDonald,
Fifty Foot Hose,
Letta Mbulu,
Eyeless In Gaza,
The J.B.'s,
Bob Dylan,
Hot Snakes,
Gary Puckett & The Union Gap,
Clear Light,
Gerry Rafferty,
The Human League,
Thinking Fellers Union Local 282,
Zero Boys,
Oneida,
Colin Newman,
Brass Construction,
Graham Central Station,
Glenn Branca,
Mary Jane Girls,
Sexual Harrassment,
The Toasters,
Thompson Twins,
Slick Rick,
The Peanut Butter Conspiracy,
Barry Ungar,
Girls At Our Best!,
The United States of America,
Main Source,
Excepter,
New Age Steppers,
Rhythm & Sound,
Roxy Music,
A Flock of Seagulls,
Pantaleimon,
Pulsallama,
Depeche Mode,
Young Marble Giants,
Bronski Beat,
Sarah Menescal,
Yellowson, Yellowson, Yellowson, Yellowson.
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.