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 Papua New Guinea and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Seoul 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 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 Sandy B to the crunk kids.
I played it at the Troubador.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Quantec,
Mad Mike,
New Age Steppers,
Smog,
Livin' Joy,
Country Teasers,
Arab on Radar,
The Knickerbockers,
the Association,
Kango’s Stein Massive,
Lou Reed & Metallica,
Pete Rock & C.L. Smooth,
The Smoke,
The Men They Couldn't Hang,
Eve St. Jones,
The Dirtbombs,
Grey Daturas,
Ultramagnetic MC's,
AZ,
CMW,
Delta 5,
Moby Grape,
The Alarm Clocks,
Fela Kuti,
Chris & Cosey,
Danielle Patucci,
Main Source,
Jeff Mills,
Sun Ra,
The Zeros,
the Sonics,
Eric Copeland,
Young Marble Giants,
The Shadows of Knight,
Guru Guru,
Rotary Connection,
The Skatalites,
Judy Mowatt,
Index,
Little Man,
The Stooges,
Shuggie Otis,
Thompson Twins,
Aaron Thompson,
Sly & The Family Stone,
The Mummies,
Cymande,
Ten City,
Matthew Halsall,
Boz Scaggs,
Monolake,
Henry Cow,
Rod Modell,
Dawn Penn,
Barbara Tucker,
Don Cherry,
Derrick Morgan,
Roxy Music,
Cabaret Voltaire,
Neil Young & Crazy Horse,
Kerrie Biddell,
DJ Style, DJ Style, DJ Style, DJ Style.
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.