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 Mongolia and from Stockholm.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Lyon.
I'm losing my edge to the art-school Paris 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 snare sounds with much patience.
I was there when Donald Fagen 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 K-Klass 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 Shuggie Otis. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Jacob Miller,
Smog,
Easy Going,
Tubeway Army,
Eurythmics,
Chrome,
Barrington Levy,
Pete Rock & C.L. Smooth,
Groovy Waters,
Erasure,
Whodini,
Angels of Light & Akron/Family,
The Associates,
Grandmaster Flash,
Black Flag,
The Pretty Things,
Howard Jones,
Connie Case,
Gil Scott-Heron & Brian Jackson,
Donald Byrd,
Gang Starr,
Lebanon Hanover,
Urselle,
The Toasters,
10cc,
Section 25,
Carl Craig,
Inner City,
Joey Negro,
Nik Kershaw,
Deadbeat,
The Red Krayola,
Ponytail,
Notorious Big And Bone Thugs,
The Last Poets,
Strawberry Alarm Clock,
Derrick May,
The Misunderstood,
Stockholm Monsters,
Gil Scott-Heron and Jamie xx,
Infiniti,
Andrew Hill,
Todd Rundgren,
Kayak,
Idris Muhammad,
Soul II Soul,
World's Most,
Amon Düül,
Cal Tjader,
Malaria!,
Fatback Band,
Gregory Isaacs,
Eyeless In Gaza,
Boogie Down Productions,
Frankie Knuckles,
Art Ensemble Of Chicago,
The Dead C,
The Skatalites,
The Fortunes,
The New Christs,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.