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 Turkey and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 808 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 Index to the disco kids.
I played it at the Crocodile.
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 Eating Sloth. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal rap 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 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Chrome,
The Royal Family And The Poor,
Fatback Band,
Arab on Radar,
Sex Pistols,
Harmonia,
Junior Murvin,
Bill Wells,
Ash Ra Tempel,
Gabor Szabo,
Andrew Ashong & Theo Parrish,
Cheater Slicks,
Swell Maps,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fifty Foot Hose,
The Wake,
Masters at Work,
Supertramp,
Deutsch Amerikanische Freundschaft,
F. McDonald,
Von Mondo,
Royal Trux,
Glenn Branca,
Al Stewart,
Byron Stingily,
The Fuzztones,
Skaos,
R.M.O.,
JFA,
Banda Bassotti,
Michelle Simonal,
Anthony Braxton,
Lalann,
Flamin' Groovies,
Rosa Yemen,
Albert Ayler,
Janne Schatter,
Bronski Beat,
Nation of Ulysses,
Drexciya,
D'Angelo,
Camouflage,
Crispy Ambulance,
Severed Heads,
Television,
Iggy Pop,
MC5,
Buzzcocks,
The Slits,
James White and The Blacks,
Judy Mowatt,
Hashim,
Scratch Acid,
Sixth Finger,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jandek,
The Cure,
Ultravox,
The Jesus and Mary Chain,
Tomorrow,
Ajijia Myrayebe,
T.S.O.L.,
Yazoo, Yazoo, Yazoo, Yazoo.
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.