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 Tajikistan and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Houston.
I'm losing my edge to the art-school Delhi 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 David Bowie 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 Cluster to the dance kids.
I played it at CBGB's.
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 Lucky Dragons. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your 808 and bought an organ.
I hear that you and your band have sold your organ and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Röyhkä ja Rättö ja Lehtisalo,
The Saints,
Suicide,
The Alarm Clocks,
Faust,
Country Joe & The Fish,
It's A Beautiful Day,
Arcadia,
Harpers Bizarre,
Pantaleimon,
Dead Boys,
Theoretical Girls,
The Electric Prunes,
KRS-One,
The Count Five,
Sällskapet,
Vaughan Mason & Crew,
Man Eating Sloth,
Aural Exciters,
Sound Behaviour,
Angels of Light & Akron/Family,
Radio Birdman,
Yazoo,
Mary Jane Girls,
Gerry Rafferty,
Kayak,
Sarah Menescal,
Public Image Ltd.,
The Motions,
Hardrive,
Funkadelic,
Unrelated Segments,
Marmalade,
In Retrospect,
Scan 7,
Camberwell Now,
Cybotron,
Albert Ayler,
Minnie Riperton,
Dawn Penn,
Derrick May,
Groovy Waters,
Sad Lovers and Giants,
Excepter,
The Mighty Diamonds,
Janne Schatter,
Nik Kershaw,
Royal Trux,
The Tremeloes,
Average White Band,
Archie Shepp,
The Monks,
Strawberry Alarm Clock,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aaron Thompson,
Grauzone,
Eli Mardock,
The Skatalites,
Chrome, Chrome, Chrome, Chrome.
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.