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 Zimbabwe and from Beijing.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Cairo 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 guitar sounds with much patience.
I was there when Lou Reed 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 Moss Icon to the punk 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 Terror Squad Feat. Camron. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Man Parrish,
Teenage Jesus and the Jerks,
Danielle Patucci,
The Count Five,
Reagan Youth,
Eric Copeland,
The Men They Couldn't Hang,
Marc Almond,
Roger Hodgson,
Reuben Wilson,
Girls At Our Best!,
June of 44,
Lafayette Afro Rock Band,
Alton Ellis,
John Lydon,
U.S. Maple,
Letta Mbulu,
Eurythmics,
Section 25,
Major Organ And The Adding Machine,
Intrusion,
Fat Boys,
Johnny Osbourne,
Joe Finger,
Selector Dub Narcotic,
Spandau Ballet,
Aloha Tigers,
Throbbing Gristle,
Radio Birdman,
The Detroit Cobras,
Organ,
The Fuzztones,
UT,
Super Lover Cee & Casanova Rud,
Mandrill,
The Raincoats,
Prince Buster,
The Evens,
Kevin Saunderson,
F. McDonald,
Bobby Sherman,
the Fania All-Stars,
L. Decosne,
Donald Byrd,
The Monks,
The Selecter,
Idris Muhammad,
Minor Threat,
Gerry Rafferty,
Rotary Connection,
The Golliwogs,
Alice Coltrane,
Notorious BIG live in Amsterdam,
Kaleidoscope,
Pulsallama,
Scan 7,
Todd Terry,
Scientists,
Popol Vuh,
Cal Tjader,
Strawberry Alarm Clock,
Moebius, Moebius, Moebius, Moebius.
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.