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 Argentina and from Milan.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 marimba sounds with much patience.
I was there when David Bowie 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 Model 500 to the techno kids.
I played it at the Roxy.
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 Masters at Work. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
K-Klass,
It's A Beautiful Day,
Fatback Band,
Echo & the Bunnymen,
Unwound,
Rites of Spring,
Erykah Badu,
Tres Demented,
Mo-Dettes,
Avey Tare,
Gang Gang Dance,
Big Daddy Kane,
Kenny Larkin,
Drive Like Jehu,
Brothers Johnson,
Ice-T,
Soft Machine,
Sex Pistols,
Warren Ellis,
Sparks,
Amon Düül,
Barry Ungar,
Max Romeo,
T. Rex,
London Community Gospel Choir,
Eli Mardock,
Tom Boy,
Marmalade,
Stiv Bators,
Bootsy's Rubber Band,
Groovy Waters,
The Black Dice,
Country Joe & The Fish,
Dark Day,
Gerry Rafferty,
Amazonics,
Roxy Music,
The Index,
Man Eating Sloth,
Vainqueur,
Icehouse,
The Detroit Cobras,
Byron Stingily,
Q65,
The Sisters of Mercy,
Ken Boothe,
Drexciya,
Radiohead,
The Moody Blues,
Roy Ayers Ubiquity,
Prince Buster,
The Martian,
Nils Olav,
Sugar Minott,
Jesper Dahlback,
E-Dancer,
Infiniti,
48th St. Collective,
Jerry's Kids,
The Trojans, The Trojans, The Trojans, The Trojans.
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.