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 Grenada and from Tokyo.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Edmonton 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Fat Boys to the grime 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 Siouxsie and the Banshees. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Rakim,
Q65,
The Slits,
Fad Gadget,
Mantronix,
Morten Harket,
Yusef Lateef,
Brick,
Flipper,
Scott Walker,
Angels of Light & Akron/Family,
Fluxion,
Talk Talk,
Andrew Ashong & Theo Parrish,
Unrelated Segments,
Goldenarms,
Josef K,
Eyeless In Gaza,
Magma,
The Buckinghams,
The Busters,
The Leaves,
a-ha,
Teenage Jesus and the Jerks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mo-Dettes,
Rhythim Is Rhythim,
Oblivians,
Lucky Dragons,
Red Lorry Yellow Lorry,
Blossom Toes,
Icehouse,
Juan Atkins,
The Dave Clark Five,
The Slackers,
The Toasters,
Amon Düül II,
Das Ding,
Barry Ungar,
Unwound,
Gabor Szabo,
The Modern Lovers,
Grey Daturas,
Yaz,
Adolescents,
Orchestral Manoeuvres in the Dark,
The Star Department,
Country Joe & The Fish,
Pet Shop Boys,
Mars,
Kool G Rap & DJ Polo,
Tropical Tobacco,
Major Organ And The Adding Machine,
Faraquet,
Magazine,
The Pop Group,
Audionom,
the Fania All-Stars,
The Invisible,
Delon & Dalcan,
Crispian St. Peters,
Vainqueur,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.