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 Italy and from Milan.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Paris 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 spring reverb 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 Dorothy Ashby to the punk 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 Man Parrish. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Fort Wilson Riot,
B.T. Express,
8 Eyed Spy,
Barry Ungar,
Gary Puckett & The Union Gap,
Depeche Mode,
Hardrive,
Lafayette Afro Rock Band,
Camberwell Now,
Das Ding,
The Birthday Party,
The Cramps,
Ronnie Foster,
Thinking Fellers Union Local 282,
Lindisfarne,
The Stooges,
The Selecter,
Neil Young,
Nirvana,
Deepchord,
Chris & Cosey,
Radiopuhelimet,
Dennis Brown,
Lalo Schifrin,
Pet Shop Boys,
Deutsch Amerikanische Freundschaft,
Fela Kuti,
Dual Sessions,
Marshall Jefferson,
Minor Threat,
Jawbox,
Shoche,
Warren Ellis,
Faust,
The Knickerbockers,
Bang on a Can All-Stars,
The Buckinghams,
The Invisible,
Andrew Hill,
Art Ensemble Of Chicago,
Bobby Hutcherson,
Deadbeat,
Sticky Fingaz feat. Raekwon,
Babytalk,
Vaughan Mason & Crew,
Monolake,
Matthew Halsall,
Aswad,
Sam Rivers,
Glambeats Corp.,
Toni Rubio,
The Vogues,
John Lydon,
Fear,
Kings Of Tomorrow,
Reagan Youth,
Thee Headcoats,
The Moody Blues,
Model 500,
Mark Hollis,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.