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 Solomon Islands 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 1961 to 1971.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Toronto 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 Michael McDonald 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 Rhythim Is Rhythim to the funk kids.
I played it at the 40 Watt.
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 Bobby Hutcherson. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Japan 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 '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Sex Pistols,
Supertramp,
Sällskapet,
Lou Reed & Metallica,
T. Rex,
Crash Course in Science,
Boredoms,
Sad Lovers and Giants,
Rod Modell,
The Black Dice,
Jacob Miller,
Gong,
Erasure,
Nils Olav,
The United States of America,
Saccharine Trust,
Visage,
Super Lover Cee & Casanova Rud,
Soul Sonic Force,
Loose Ends,
Amon Düül II,
Lebanon Hanover,
Eden Ahbez,
June Days,
UT,
Rakim,
Scratch Acid,
The West Coast Pop Art Experimental Band,
Jesper Dahlbäck,
Sonic Youth,
The Fall,
Second Layer,
Eli Mardock,
Technova,
Surgeon,
Main Source,
Kenny Larkin,
Boogie Down Productions,
The Moody Blues,
Major Organ And The Adding Machine,
Ituana,
Adolescents,
Aaron Thompson,
Pierre Henry,
Captain Beefheart & His Magic Band,
Ponytail,
Sticky Fingaz feat. Raekwon,
Maurizio,
Gil Scott Heron,
Crispy Ambulance,
Magma,
Negative Approach,
Outsiders,
The Dave Clark Five,
The Pop Group,
Janne Schatter,
Rekid,
Crime,
Theoretical Girls,
Eric B and Rakim,
Scion,
T.S.O.L.,
Black Pus,
Deepchord, Deepchord, Deepchord, Deepchord.
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.