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 the UAE and from New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Spokane and Madrid.
I'm losing my edge to the art-school Tehran 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 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 N.O.R.E. Featuring Pharrell to the electroclash kids.
I played it at the 40 Watt.
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 Stockholm Monsters. All the underground hits.
All Can tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
CMW,
Justin Hinds & The Dominoes,
48th St. Collective,
Lungfish,
Essential Logic,
Buzzcocks,
Lyres,
Sly & The Family Stone,
DNA,
New Age Steppers,
Soul Sonic Force,
John Cale,
The Royal Family And The Poor,
Rakim,
Oblivians,
Flipper,
Aswad,
The Moody Blues,
Max Romeo,
Eric Dolphy,
Sandy B,
Subhumans,
Basic Channel,
David Axelrod,
Bobby Byrd,
The Doobie Brothers,
Alphaville,
Charles Mingus,
Joey Negro,
Joe Finger,
Ornette Coleman,
Hoover,
The Mighty Diamonds,
Drive Like Jehu,
Eddi Front,
Sun Ra Arkestra,
June of 44,
Gian Franco Pienzio,
Tomorrow,
The West Coast Pop Art Experimental Band,
Circle Jerks,
Richard Hell and the Voidoids,
Bang on a Can All-Stars,
Adolescents,
The Martian,
Ice-T,
Peter Gordon & Love of Life Orchestra,
Rowland S Howard / Lydia Lunch,
Matthew Halsall,
Amon Düül II,
The Alarm Clocks,
Procol Harum,
The Real Kids,
Interpol,
Suburban Knight,
Black Pus,
Groovy Waters,
PIL, PIL, PIL, PIL.
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.