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 Tehran.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
I'm losing my edge to the art-school Calgary 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 snare sounds with much patience.
I was there when Michael McDonald 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 Albert Ayler to the dance kids.
I played it at CBGB's.
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 Mo-Dettes. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire 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?
Curtis Mayfield,
Intrusion,
Robert Wyatt,
Peter and Kerry,
Black Flag,
Rahsaan Roland Kirk,
Skarface,
Ituana,
Q65,
Reuben Wilson,
June of 44,
Stiv Bators,
It's A Beautiful Day,
Pere Ubu,
Simply Red,
Nico,
Marshall Jefferson,
David Bowie,
Bill Near,
The Selecter,
DJ Style,
Gastr Del Sol,
Jesper Dahlbäck,
The Monochrome Set,
The Remains,
The New Christs,
Junior Murvin,
Donny Hathaway,
Eyeless In Gaza,
Delon & Dalcan,
Lafayette Afro Rock Band,
The Mummies,
Derrick Morgan,
Sparks,
Sixth Finger,
Nik Kershaw,
Jeff Lynne,
Boredoms,
Young Marble Giants,
A Certain Ratio,
Organ,
Be Bop Deluxe,
LL Cool J,
Quantec,
Bauhaus,
Lyres,
Inner City,
The Fire Engines,
Flamin' Groovies,
Scrapy,
Camberwell Now,
The Cramps,
Soul II Soul,
Mad Mike,
Al Stewart,
E-Dancer,
Beasts of Bourbon,
Scott Walker + Sunn O))),
the Association,
DJ Sneak,
48th St. Collective,
Morten Harket,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.