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 Congo and from Columbus.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Salvador 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes 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 Tropical Tobacco to the dance kids.
I played it at the Spitz.
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 Pet Shop Boys. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Grandmaster Flash and the Furious Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
De La Soul & Jungle Brothers,
The Wake,
David Bowie,
Ohio Players,
Marvin Gaye,
Rites of Spring,
Gang Gang Dance,
Spoonie Gee,
New York Dolls,
Flamin' Groovies,
Sex Pistols,
Motorama,
Guru Guru,
B.T. Express,
T. Rex,
Jesper Dahlbäck,
John Cale,
K-Klass,
Albert Ayler,
Pole,
Traffic Nightmare,
Bush Tetras,
Metal Thangz,
The Shadows of Knight,
Outsiders,
Zero Boys,
Nick Cave & The Bad Seeds,
Little Man,
Monks,
Ten City,
The Fall,
Iggy Pop,
This Heat,
Yusef Lateef,
Whodini,
Kurtis Blow,
Brass Construction,
Supertramp,
Marshall Jefferson,
Louis and Bebe Barron,
Inner City,
Q and Not U,
Lindisfarne,
ABC,
Jawbox,
The Monochrome Set,
Scion,
Gabor Szabo,
H. Thieme,
Silicon Teens,
The Martian,
Nils Olav,
Sonic Youth,
A Certain Ratio,
Black Pus,
Gong,
Angels of Light & Akron/Family,
Glenn Branca,
Flipper, Flipper, Flipper, Flipper.
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.