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 Afghanistan and from Spokane.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Bremen 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the snare 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 the Sonics to the techno kids.
I played it at the Spitz.
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 Sparks. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Pete Rock & C.L. Smooth,
Teenage Jesus and the Jerks,
The Offenders,
Electric Light Orchestra,
Pole,
Hashim,
Talk Talk,
Dorothy Ashby,
Thompson Twins,
The Cure,
Nas,
Quando Quango,
Monolake,
Chris Corsano,
Marshall Jefferson,
Fela Kuti,
Jeff Mills,
Avey Tare & Kría Brekkan,
The Red Krayola,
Crime,
Young Marble Giants,
The Sonics,
Ultra Naté,
K-Klass,
Gil Scott-Heron and Jamie xx,
The Young Rascals,
Patti Smith,
Soft Cell,
D'Angelo,
Bad Manners,
KRS-One,
Lonnie Liston Smith,
Brick,
Newcleus,
Warren Ellis,
Mark Hollis,
The Seeds,
E-Dancer,
the Soft Cell,
Banda Bassotti,
The Neon Judgement,
Todd Rundgren,
The Five Americans,
Graham Central Station,
Soul II Soul,
Stiv Bators,
Deutsch Amerikanische Freundschaft,
Pet Shop Boys,
Ultravox,
the Slits,
Kenny Larkin,
The American Breed,
Y Pants,
The Black Dice,
The New Christs,
Joe Smooth,
New Order,
Pylon,
The Detroit Cobras,
Janne Schatter,
Liliput, Liliput, Liliput, Liliput.
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.