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 Ethiopia and from Beijing.
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 1961 to 1972.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Milan 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the harpsichord 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 Dennis Brown to the grunge kids.
I played it at Cafe Wha.
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 Blossom Toes. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal crunk 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 a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Jacob Miller,
The West Coast Pop Art Experimental Band,
This Heat,
Steve Hackett,
Alison Limerick,
Byron Stingily,
Ponytail,
The Moleskins,
Newcleus,
Maurizio,
The United States of America,
Barry Ungar,
The Moody Blues,
the Association,
Deepchord,
Procol Harum,
Delon & Dalcan,
The Remains,
Al Stewart,
Eric B and Rakim,
Red Lorry Yellow Lorry,
Janne Schatter,
Scan 7,
A Flock of Seagulls,
Alice Coltrane,
The Sonics,
Oblivians,
The Five Americans,
Major Organ And The Adding Machine,
Lafayette Afro Rock Band,
Angry Samoans,
Pere Ubu,
Grandmaster Flash,
The Music Machine,
Vladislav Delay,
Popol Vuh,
Bootsy Collins,
Bobby Byrd,
Nick Cave & The Bad Seeds,
Bob Dylan,
Minnie Riperton,
B.T. Express,
Clear Light,
The Fortunes,
Quantec,
The Gap Band,
Tomorrow,
Adolescents,
Thompson Twins,
the Sonics,
Public Enemy,
Barrington Levy,
Michelle Simonal,
Siglo XX,
The Gun Club,
The Flesh Eaters,
Slick Rick,
Von Mondo,
Loose Ends,
Camberwell Now,
Robert Wyatt,
Black Moon, Black Moon, Black Moon, Black Moon.
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.