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 Serbia and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Copenhagen 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 synthesizer 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 Neil Young to the funk kids.
I played it at the Troubador.
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 KRS-One. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every The Residents 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Gil Scott-Heron & Brian Jackson,
Alton Ellis,
Vainqueur,
Bill Wells,
Man Parrish,
Big Daddy Kane,
48th St. Collective,
Ice-T,
Cameo,
Isaac Hayes,
The Searchers,
Mandrill,
Susan Cadogan,
Easy Going,
Eli Mardock,
Hot Snakes,
Jeru the Damaja,
A Flock of Seagulls,
the Normal,
Tres Demented,
Khruangbin,
Scan 7,
K-Klass,
DNA,
Black Sheep,
Eric B and Rakim,
Cecil Taylor,
Echospace,
DJ Style,
Los Fastidios,
Zero Boys,
Spandau Ballet,
Dark Day,
Matthew Bourne,
Boredoms,
Thinking Fellers Union Local 282,
Icehouse,
Flipper,
Sun Ra,
The Doobie Brothers,
The Offenders,
The Fugs,
Robert Hood,
Joe Finger,
Q65,
Nik Kershaw,
DeepChord presents Echospace,
Suburban Knight,
Reagan Youth,
UT,
Ronan,
The Shadows of Knight,
Boogie Down Productions,
The Martian,
Agitation Free,
Hasil Adkins,
Heaven 17,
The Move,
Jesper Dahlback,
Jerry Gold Smith,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.