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 Lyon.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Beijing 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 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 The Pop Group to the techno kids.
I played it at the Roxy.
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 Visionaries,LMNO, T- Love & Iriscience. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Ituana 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Kurtis Blow,
Erykah Badu,
Drexciya,
Fat Boys,
Radio Birdman,
Reagan Youth,
The Dead C,
Siouxsie and the Banshees,
The Misunderstood,
Lafayette Afro Rock Band,
Desert Stars,
Tim Buckley,
The Victims,
Tres Demented,
Aswad,
Loose Ends,
Q and Not U,
Radiohead,
Bobby Hutcherson,
Can,
Schoolly D,
Avey Tare & Kría Brekkan,
Zapp,
Crime,
Susan Cadogan,
the Soft Cell,
Reuben Wilson,
The Blackbyrds,
Frankie Knuckles,
Eden Ahbez,
Von Mondo,
Yaz,
The Fortunes,
The Young Rascals,
Pylon,
Sister Nancy,
Major Organ And The Adding Machine,
Faust,
Inner City,
Grandmaster Flash and the Furious Five,
Warren Ellis,
Crispy Ambulance,
Idris Muhammad,
Lou Christie,
Ash Ra Tempel,
The Searchers,
Second Layer,
The J.B.'s,
Barry Ungar,
Lou Reed,
Avey Tare's Slasher Flicks,
Brick,
Kenny Larkin,
Half Japanese,
Brand Nubian,
Jacques Brel,
Bill Wells,
Adolescents,
Gian Franco Pienzio,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.