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 Burundi and from Copenhagen.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Beijing.
I'm losing my edge to the art-school Johannesburg 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 Captain Beefheart 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 Moss Icon to the crunk kids.
I played it at the Spitz.
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 Boredoms. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Inner City 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Fela Kuti,
EPMD,
Blossom Toes,
Little Man,
Urselle,
Matthew Bourne,
Oppenheimer Analysis,
Ossler,
Cymande,
Jerry Gold Smith,
Spandau Ballet,
Pantaleimon,
The Five Americans,
Avey Tare & Kría Brekkan,
Faust,
Charles Mingus,
The Martian,
Glambeats Corp.,
Gil Scott-Heron and Jamie xx,
Donny Hathaway,
Stiv Bators,
Thompson Twins,
Graham Central Station,
Fatback Band,
Absolute Body Control,
Barrington Levy,
The Real Kids,
Delon & Dalcan,
Tom Boy,
The Smiths,
H. Thieme,
Chris & Cosey,
Zapp,
The Cure,
The Searchers,
Bootsy's Rubber Band,
Shuggie Otis,
The Gun Club,
The Evens,
The Fire Engines,
David Axelrod,
Altered Images,
Lower 48,
Mandrill,
Con Funk Shun,
The Litter,
Nick Fraelich,
MDC,
Technova,
Saccharine Trust,
Tommy Roe,
Jesper Dahlbäck,
Lou Reed,
Slave,
The Techniques,
The Last Poets,
The Men They Couldn't Hang,
Quadrant,
Half Japanese,
Iggy Pop,
Swell Maps,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.