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 Dominican Republic and from Shanghai.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Chocolate Watch Band to the rock kids.
I played it at the Hacienda.
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 Unrelated Segments. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
These Immortal Souls,
Gabor Szabo,
Notorious BIG live in Amsterdam,
Avey Tare's Slasher Flicks,
Depeche Mode,
Theoretical Girls,
Iggy Pop,
The Seeds,
Oblivians,
Radiohead,
Reuben Wilson,
Gastr Del Sol,
This Heat,
The Fall,
Hot Snakes,
The Gun Club,
Charles Mingus,
Soulsonic Force,
The Index,
Infiniti,
New York Dolls,
Technova,
Babytalk,
Electric Light Orchestra,
Morten Harket,
Scratch Acid,
Todd Rundgren,
Alton Ellis,
Gang Starr,
Soft Machine,
Zero Boys,
Sarah Menescal,
James Chance & The Contortions,
Thompson Twins,
Nirvana,
Siglo XX,
Sun Ra Arkestra,
The Offenders,
Smog,
It's A Beautiful Day,
Cymande,
Pharaoh Sanders and the Fire Engines,
Girls At Our Best!,
the Germs,
Quantec,
Lungfish,
Ludus,
Lalo Schifrin,
Siouxsie and the Banshees,
Traffic Nightmare,
Guru Guru,
Chrome,
UT,
Underground Resistance,
Be Bop Deluxe,
Rhythm & Sound,
Easy Going,
The Sound,
Stiv Bators,
X-Ray Spex,
Dead Boys,
Sixth Finger,
The Invisible, The Invisible, The Invisible, The Invisible.
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.