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 Kazakhstan and from Toronto.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
I'm losing my edge to the art-school Manila 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Oppenheimer Analysis to the punk 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 Echo & the Bunnymen. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Half Japanese,
Gregory Isaacs,
Kerri Chandler,
The Victims,
cv313,
The Count Five,
The Index,
Lizzy Mercier Descloux,
The Fall,
Nils Olav,
The Cure,
H. Thieme,
The Fuzztones,
Kango’s Stein Massive,
Motorama,
Agitation Free,
Fat Boys,
John Cale,
Kevin Saunderson,
The Men They Couldn't Hang,
Sticky Fingaz feat. Raekwon,
Faust,
The New Christs,
Strawberry Alarm Clock,
X-101,
Schoolly D,
Magazine,
Agent Orange,
Country Teasers,
Ultimate Spinach,
Bauhaus,
The Monochrome Set,
Oneida,
the Normal,
The J.B.'s,
Gong,
Grandmaster Flash,
Albert Ayler,
Rhythim Is Rhythim,
Kurtis Blow,
Notorious BIG live in Amsterdam,
Blake Baxter,
Crooked Eye,
Soft Cell,
The Vogues,
Althea and Donna,
Johnny Clarke,
Newcleus,
Moby Grape,
John Foxx,
Yaz,
Scratch Acid,
The Mighty Diamonds,
Reuben Wilson,
The Moody Blues,
Niagra,
Dorothy Ashby,
Vainqueur,
The Zeros,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.