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 Mali and from Seoul.
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 Calgary and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Fire Engines to the techno kids.
I played it at Trash.
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 Wolf Eyes. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Skatalites,
Minnie Riperton,
Rakim,
Johnny Clarke,
Gang of Four,
Grandmaster Flash and the Furious Five,
Loose Ends,
Thee Headcoats,
Yaz,
Girls At Our Best!,
Marcia Griffiths,
Soul Sonic Force,
Howard Jones,
The Monochrome Set,
Lindisfarne,
Essential Logic,
KRS-One,
Q and Not U,
Teenage Jesus and the Jerks,
Symarip,
Kayak,
Grauzone,
PIL,
Supertramp,
Hot Snakes,
Tommy Roe,
Skarface,
Lyres,
CMW,
The Moleskins,
Drive Like Jehu,
Lalann,
The Standells,
Popol Vuh,
Yazoo,
The Martian,
The Alarm Clocks,
Scion,
Brothers Johnson,
Archie Shepp,
Blancmange,
Buzzcocks,
Prince Buster,
Alton Ellis,
Amazonics,
Beasts of Bourbon,
In Retrospect,
Ajijia Myrayebe,
Roy Ayers,
Little Man,
Masters at Work,
Lakeside,
Glenn Branca,
Erykah Badu,
Blake Baxter,
The Moody Blues,
The Smoke,
Scan 7,
Hashim,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.