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 Somalia and from Philadelphia.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Boogie Down Productions to the crunk 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 Soft Machine. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Jay Z And Juelz,
Fear,
Jacob Miller,
Crime,
Traffic Nightmare,
The Birthday Party,
Crash Course in Science,
Cluster,
Morten Harket,
Flamin' Groovies,
Wally Richardson,
Second Layer,
The Index,
Andrew Hill,
Larry & the Blue Notes,
Minor Threat,
Robert Hood,
David Axelrod,
Absolute Body Control,
Connie Case,
The Peanut Butter Conspiracy,
Todd Terry,
Brothers Johnson,
Zapp,
The Monochrome Set,
CMW,
Albert Ayler,
The Grass Roots,
Bauhaus,
Fugazi,
The Zeros,
Ice-T,
The Golliwogs,
Television Personalities,
Neil Young & Crazy Horse,
Surgeon,
Amazonics,
D'Angelo,
Harpers Bizarre,
Guru Guru,
the Bar-Kays,
Magazine,
Slick Rick,
Derrick May,
Harmonia,
DeepChord presents Echospace,
Dennis Brown,
Eurythmics,
Mark Hollis,
the Human League,
Barrington Levy,
Gabor Szabo,
cv313,
Parry Music,
Peter Gordon & Love of Life Orchestra,
Q and Not U,
Yusef Lateef,
Kayak,
David McCallum,
Big Daddy Kane,
Fifty Foot Hose,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.