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 Haiti and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 Sun Ra to the punk kids.
I played it at the Astoria.
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 London Community Gospel Choir. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Clear Light 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 '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Anthony Braxton,
The Real Kids,
LL Cool J,
Hoover,
Nik Kershaw,
Altered Images,
X-102,
Rapeman,
Harry Pussy,
The Birthday Party,
De La Soul & Jungle Brothers,
Panda Bear,
Kerrie Biddell,
Charles Mingus,
The Sisters of Mercy,
Section 25,
Essential Logic,
Motorama,
Grauzone,
Visage,
The Count Five,
Lou Reed & Metallica,
Camouflage,
John Coltrane,
Jacob Miller,
Echo & the Bunnymen,
Bobby Womack,
Mad Mike,
Marine Girls,
Soul II Soul,
Buzzcocks,
Rhythm & Sound,
Dark Day,
Bill Wells,
Curtis Mayfield,
Josef K,
Todd Rundgren,
Avey Tare's Slasher Flicks,
Cecil Taylor,
Joensuu 1685,
A Flock of Seagulls,
Lou Reed,
Girls At Our Best!,
Bobbi Humphrey,
MC5,
Ice-T,
Model 500,
Flash Fearless,
The J.B.'s,
The Trojans,
The American Breed,
Avey Tare,
Robert Görl,
Rowland S Howard / Lydia Lunch,
Ken Boothe,
Bootsy Collins,
Captain Beefheart & His Magic Band,
Groovy Waters,
Tropical Tobacco,
The Divine Comedy,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.