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 Tanzania and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 marimba 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 The Selecter to the crunk kids.
I played it at the Crocodile.
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 The Human League. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal techno 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bootsy Collins,
T. Rex,
Derrick May,
Symarip,
Dorothy Ashby,
Franke,
Anthony Braxton,
Pagans,
The Flesh Eaters,
Underground Resistance,
Marshall Jefferson,
Pierre Henry,
Todd Terry,
Sister Nancy,
Heavy D & The Boyz,
Crispy Ambulance,
Bizarre Inc.,
Connie Case,
The Doors,
Roy Ayers,
Patti Smith,
Inner City,
Soul II Soul,
Morten Harket,
Brass Construction,
Mantronix,
Deepchord,
Heaven 17,
Fat Boys,
Goldenarms,
Brand Nubian,
Harry Pussy,
Prince Buster,
Easy Going,
Ralphi Rosario,
Sandy B,
The Young Rascals,
Stiv Bators,
Arab on Radar,
Mission of Burma,
The Trojans,
Pet Shop Boys,
Can,
Althea and Donna,
Shuggie Otis,
Loose Ends,
Thinking Fellers Union Local 282,
Jerry Gold Smith,
Girls At Our Best!,
Sun Ra Arkestra,
Lucky Dragons,
a-ha,
Amon Düül,
Terrestrial Tones,
Flamin' Groovies,
Peter and Kerry,
Aural Exciters,
Barry Ungar,
Eurythmics,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.