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 Haiti and from Sao Paulo.
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 1962 to 1975.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Thee Headcoats to the rap kids.
I played it at the Spitz.
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 KRS-One. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Index 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Roy Ayers Ubiquity,
The Doors,
Ronan,
The Golliwogs,
Sällskapet,
Richard Hell and the Voidoids,
the Bar-Kays,
Half Japanese,
Judy Mowatt,
Archie Shepp,
The Motions,
Graham Central Station,
Fela Kuti,
Smog,
Magma,
John Lydon,
Crooked Eye,
Goldenarms,
A Certain Ratio,
Boogie Down Productions,
Bootsy's Rubber Band,
Captain Beefheart & His Magic Band,
Junior Murvin,
X-Ray Spex,
Rites of Spring,
The Young Rascals,
Tropical Tobacco,
Black Sheep,
Black Flag,
Justin Hinds & The Dominoes,
The Remains,
Roxette,
Lucky Dragons,
Public Enemy,
Moebius,
Marshall Jefferson,
Sam Rivers,
Amazonics,
Bluetip,
LL Cool J,
Fifty Foot Hose,
Tres Demented,
Intrusion,
Bad Manners,
Erasure,
Japan,
The Monks,
Throbbing Gristle,
Sex Pistols,
Babytalk,
Jacques Brel,
Bobby Byrd,
Teenage Jesus and the Jerks,
The Selecter,
Lou Christie,
Wire,
Bill Near,
Selector Dub Narcotic,
Barry Ungar,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.