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 United Kingdom and from Mumbai.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school Bologna 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 snare 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 Gregory Isaacs to the rock 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 Ponytail. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
B.T. Express,
Arcadia,
Ultravox,
The Slackers,
The Mighty Diamonds,
The Fortunes,
Scan 7,
Funkadelic,
Gil Scott-Heron & Brian Jackson,
Dual Sessions,
A Certain Ratio,
EPMD,
Motorama,
Sam Rivers,
Camberwell Now,
Lower 48,
Sixth Finger,
The Associates,
Model 500,
KRS-One,
Sunsets and Hearts,
Avey Tare's Slasher Flicks,
Heavy D & The Boyz,
Pulsallama,
Sister Nancy,
Blake Baxter,
Ultra Naté,
Infiniti,
Fatback Band,
Circle Jerks,
Angry Samoans,
Sun Ra,
Monolake,
L. Decosne,
Gil Scott Heron,
Be Bop Deluxe,
Visionaries,LMNO, T- Love & Iriscience,
Swell Maps,
Boz Scaggs,
Aural Exciters,
Amon Düül II,
Sällskapet,
The Residents,
Chris & Cosey,
Malaria!,
Eden Ahbez,
FM Einheit,
The Cosmic Jokers,
Bobby Hutcherson,
Rowland S Howard / Lydia Lunch,
Kool G Rap & DJ Polo,
The United States of America,
Jerry Gold Smith,
Tres Demented,
Black Pus,
Nas,
CMW,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.