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 Costa Rica and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
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 clarinet 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 Sun City Girls to the rap kids.
I played it at the Hacienda.
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 Soul Sonic Force. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Silicon Teens record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Johnny Osbourne,
This Heat,
The Slits,
48th St. Collective,
Desert Stars,
Amon Düül,
Roxy Music,
Lizzy Mercier Descloux,
Minny Pops,
Mo-Dettes,
ABBA,
Kango’s Stein Massive,
Joey Negro,
Crash Course in Science,
Jacob Miller,
Brothers Johnson,
Pete Rock & C.L. Smooth,
Marcia Griffiths,
The Neon Judgement,
Juan Atkins,
John Coltrane,
The Victims,
Alison Limerick,
Urselle,
Joe Smooth,
Nils Olav,
Wally Richardson,
Fad Gadget,
Crispian St. Peters,
Sun Ra Arkestra,
A Certain Ratio,
Richard Hell and the Voidoids,
The Five Americans,
Kurtis Blow,
Rufus Thomas,
Leonard Cohen,
Babytalk,
Yazoo,
Zero Boys,
Max Romeo,
Cal Tjader,
Technova,
The Martian,
Gichy Dan,
Japan,
Slick Rick,
Hasil Adkins,
Radio Birdman,
Rapeman,
Fela Kuti,
Henry Cow,
The Kinks,
Bobby Womack,
Fugazi,
Au Pairs,
The Index,
Gregory Isaacs,
Jeff Mills,
FM Einheit,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.