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 Mauritius and from Stockholm.
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 1965 to 1977.
I'm losing my edge.
To all the kids in New York and Seoul.
I'm losing my edge to the art-school Paris 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 chamberlin 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 Black Sheep to the techno kids.
I played it at the Astoria.
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 Quando Quango. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Black Bananas record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Eyeless In Gaza,
Marine Girls,
David Axelrod,
The Raincoats,
The Evens,
Jawbox,
Black Sheep,
Bootsy's Rubber Band,
Godley & Creme,
Camberwell Now,
Rhythm & Sound,
Captain Beefheart & His Magic Band,
The Kinks,
Ultravox,
Michelle Simonal,
Nas,
K-Klass,
Bronski Beat,
Rapeman,
Simply Red,
Ultra Naté,
Pierre Henry,
James Chance & The Contortions,
The Residents,
Soft Machine,
Maleditus Sound,
Rosa Yemen,
The Last Poets,
Stiv Bators,
Quadrant,
Second Layer,
the Sonics,
Magma,
The Five Americans,
Eddi Front,
Funky Four + One,
KRS-One,
Hasil Adkins,
Sight & Sound,
The West Coast Pop Art Experimental Band,
Kings Of Tomorrow,
Heavy D & The Boyz,
Youth Brigade,
Janne Schatter,
Slick Rick,
Andrew Ashong & Theo Parrish,
The Standells,
Buzzcocks,
Thinking Fellers Union Local 282,
Jeru the Damaja,
The Remains,
Clear Light,
Quantec,
Reagan Youth,
Piero Umiliani,
Pole,
Chris & Cosey,
Rakim,
Popol Vuh,
Main Source,
Angry Samoans,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.