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 Lesotho and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Lagos.
I'm losing my edge to the art-school Edmonton 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 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 Arthur Verocai to the electroclash kids.
I played it at the Troubador.
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 Talk Talk. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every MDC 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter & Gordon,
Lightning Bolt,
The Dave Clark Five,
Man Eating Sloth,
Reagan Youth,
Leonard Cohen,
Liliput,
Circle Jerks,
Monks,
Curtis Mayfield,
The Red Krayola,
Camron Feat. Memphis Bleek And Beenie Seigel,
Interpol,
Agent Orange,
Tres Demented,
The Count Five,
The Skatalites,
the Association,
Amon Düül II,
The Slits,
Fifty Foot Hose,
The Slackers,
Jacques Brel,
Echo & the Bunnymen,
Cal Tjader,
In Retrospect,
Cybotron,
The Shadows of Knight,
Pole,
Robert Wyatt,
The Index,
Cabaret Voltaire,
Selector Dub Narcotic,
Marc Romboy vs. Booka Shade,
the Bar-Kays,
The Standells,
The Seeds,
Radiopuhelimet,
Nils Olav,
Sad Lovers and Giants,
The Motions,
The Mojo Men,
The Residents,
The Raincoats,
Stiv Bators,
Rotary Connection,
Piero Umiliani,
Con Funk Shun,
Masters at Work,
The Mummies,
Pete Rock & C.L. Smooth,
Underground Resistance,
Eurythmics,
Inner City,
Deakin,
Average White Band,
T. Rex,
Max Romeo,
Pussy Galore,
Robert Görl,
Isaac Hayes,
Blancmange,
Das Ding, Das Ding, Das Ding, Das Ding.
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.