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 Namibia and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Toronto 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 theremin 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 Todd Terry to the rock 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 Connie Case. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every R.M.O. 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Justin Hinds & The Dominoes,
48th St. Collective,
Easy Going,
Youth Brigade,
Nas,
Aaron Thompson,
Minutemen,
Anakelly,
Jeru the Damaja,
Laurel Aitken,
Eden Ahbez,
The Kinks,
B.T. Express,
Boz Scaggs,
Wasted Youth,
Big Daddy Kane,
Flash Fearless,
Derrick Morgan,
Curtis Mayfield,
Eric B and Rakim,
The Velvet Underground,
Kenny Larkin,
Arcadia,
the Association,
The Black Dice,
Pussy Galore,
Main Source,
Sister Nancy,
Dawn Penn,
Matthew Halsall,
Sandy B,
Suburban Knight,
Jesper Dahlback,
Moby Grape,
Alphaville,
Ludus,
The Royal Family And The Poor,
The Shadows of Knight,
Bad Manners,
Pylon,
Pulsallama,
Angry Samoans,
Joyce Sims,
Notorious Big And Bone Thugs,
Man Parrish,
The Cure,
Teenage Jesus and the Jerks,
Cluster,
Fugazi,
Matthew Bourne,
Sam Rivers,
The Pretty Things,
Stereo Dub,
Circle Jerks,
Wally Richardson,
Joy Division,
The Smiths,
Parry Music,
The Misunderstood,
Kool G Rap & DJ Polo,
Fat Boys,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.