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 Jamaica and from Sao Paulo.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when Lou Reed 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 Last Poets to the jazz kids.
I played it at the Troubador.
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 Grey Daturas. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Urselle 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Half Japanese,
The Busters,
E-Dancer,
Zero Boys,
The Grass Roots,
Josef K,
Thompson Twins,
F. McDonald,
Rekid,
World's Most,
48th St. Collective,
The Pop Group,
Dead Boys,
Sun City Girls,
Panda Bear,
Cecil Taylor,
PIL,
the Human League,
Jacques Brel,
Lee Hazlewood,
Jerry's Kids,
Crime,
Tim Buckley,
Pet Shop Boys,
the Normal,
Connie Case,
The Fire Engines,
Dual Sessions,
Adolescents,
Delon & Dalcan,
Section 25,
Metal Thangz,
Crispy Ambulance,
Ralphi Rosario,
Aaron Thompson,
Sällskapet,
Fifty Foot Hose,
Skarface,
The Music Machine,
Don Cherry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Curtis Mayfield,
Mark Hollis,
The Litter,
Audionom,
Pere Ubu,
Grey Daturas,
Magazine,
The Detroit Cobras,
Andrew Hill,
Janne Schatter,
Bobby Hutcherson,
The Cosmic Jokers,
Aswad,
Mantronix,
The Victims,
Excepter,
Gil Scott-Heron and Jamie xx,
Lafayette Afro Rock Band,
T.S.O.L.,
Jandek,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.