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 Indonesia and from Bologna.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Toronto and Bologna.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Depeche Mode to the grunge 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 Urselle. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Severed Heads,
48th St. Collective,
Frankie Knuckles,
A Flock of Seagulls,
Eric Dolphy,
The Gladiators,
The Jesus and Mary Chain,
Gil Scott-Heron and Jamie xx,
DJ Style,
Sticky Fingaz feat. Raekwon,
The Moleskins,
Strawberry Alarm Clock,
The Red Krayola,
Cal Tjader,
Ultra Naté,
Animal Collective,
The Men They Couldn't Hang,
Boogie Down Productions,
Roy Ayers,
Bang on a Can All-Stars,
Jandek,
10cc,
the Swans,
The Litter,
Marcia Griffiths,
Audionom,
PIL,
Moss Icon,
Brand Nubian,
Eric Copeland,
Shoche,
China Crisis,
Eve St. Jones,
Eric B and Rakim,
The Martian,
The Smoke,
Nas,
Radiohead,
Rufus Thomas,
Main Source,
John Cale,
Black Bananas,
Mary Jane Girls,
Fat Boys,
The Cosmic Jokers,
Andrew Ashong & Theo Parrish,
Sällskapet,
Country Teasers,
Manfred Mann's Earth Band,
Kevin Saunderson,
Arcadia,
Gong,
The Peanut Butter Conspiracy,
Andrew Hill,
In Retrospect,
Half Japanese,
Popol Vuh,
Clear Light,
Gary Puckett & The Union Gap,
Smog,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.