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 Greece and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
I'm losing my edge to the art-school Bologna 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 mellotron 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 Marc Almond to the dance 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 Bootsy Collins. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Bang on a Can All-Stars,
T.S.O.L.,
The Victims,
David Axelrod,
Lou Reed & John Cale,
Ornette Coleman,
The Pop Group,
Au Pairs,
Josef K,
Davy DMX,
Saccharine Trust,
Angels of Light & Akron/Family,
Bootsy's Rubber Band,
Alton Ellis,
The Wake,
Scott Walker,
Robert Hood,
Porter Ricks,
Ten City,
Ultimate Spinach,
Rosa Yemen,
Marc Almond,
Tres Demented,
Freddie Wadling,
Accadde A,
Schoolly D,
The Vogues,
Terry Callier,
a-ha,
The Residents,
Strawberry Alarm Clock,
Bronski Beat,
The Doobie Brothers,
The Fortunes,
B.T. Express,
Liliput,
The Shadows of Knight,
Ultra Naté,
The Skatalites,
Silicon Teens,
The Selecter,
The Zeros,
Mo-Dettes,
New York Dolls,
the Association,
Gary Puckett & The Union Gap,
Scion,
Bobbi Humphrey,
Kurtis Blow,
The Moleskins,
The Alarm Clocks,
Vainqueur,
Letta Mbulu,
Lucky Dragons,
Goldenarms,
Animal Collective,
Essential Logic,
10cc,
Agitation Free,
Wally Richardson,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.