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 Moldova and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Halifax 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 harpsichord 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 Glambeats Corp. to the jazz 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 Urselle. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
The Mighty Diamonds,
Porter Ricks,
Wally Richardson,
The Wake,
The Gories,
Sam Rivers,
Wighnomy Brothers & Robag Wruhme,
Beasts of Bourbon,
The Stooges,
Eve St. Jones,
Peter and Kerry,
Red Lorry Yellow Lorry,
Bad Manners,
Röyhkä ja Rättö ja Lehtisalo,
Pet Shop Boys,
Vladislav Delay,
Kurtis Blow,
The Fuzztones,
Sticky Fingaz feat. Raekwon,
Fela Kuti,
AZ,
Y Pants,
Bizarre Inc.,
A Flock of Seagulls,
Depeche Mode,
Agitation Free,
The Searchers,
Banda Bassotti,
Kings Of Tomorrow,
The Trojans,
Von Mondo,
The Doors,
Sarah Menescal,
Public Image Ltd.,
Roger Hodgson,
Radiopuhelimet,
Radiohead,
Bauhaus,
Strawberry Alarm Clock,
Second Layer,
Gary Puckett & The Union Gap,
Davy DMX,
June of 44,
The Techniques,
Kevin Saunderson,
Kauko Röyhkä ja Narttu,
Rakim,
Amon Düül,
Prince Buster,
Pole,
Hoover,
Theoretical Girls,
OOIOO,
Marine Girls,
Sun Ra,
Underground Resistance,
Big Daddy Kane,
Cal Tjader,
The Divine Comedy,
Chris & Cosey,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.