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 Seychelles and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Tokyo 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Crispian St. Peters to the grunge 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 Fat Boys. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
The Leaves,
Nation of Ulysses,
Sex Pistols,
Masters at Work,
Minnie Riperton,
Skaos,
Vaughan Mason & Crew,
Bobby Womack,
The Techniques,
Kango’s Stein Massive,
Gang of Four,
Rod Modell,
The Martian,
The Slits,
Aural Exciters,
Robert Hood,
Fugazi,
Lindisfarne,
Hasil Adkins,
Johnny Osbourne,
Metal Thangz,
Schoolly D,
Tomorrow,
Essential Logic,
Soft Cell,
James Chance & The Contortions,
The Real Kids,
MDC,
Whodini,
Fatback Band,
Stockholm Monsters,
Magma,
Au Pairs,
The Fall,
kango's stein massive,
the Slits,
Cecil Taylor,
Pulsallama,
Deadbeat,
Kool G Rap & DJ Polo,
D'Angelo,
Anakelly,
Agitation Free,
Manfred Mann's Earth Band,
Pere Ubu,
The Evens,
The Dead C,
Rhythim Is Rhythim,
Marcia Griffiths,
Prince Buster,
Procol Harum,
Sugar Minott,
Slave,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lightning Bolt,
The Moody Blues,
Letta Mbulu,
Eric B and Rakim,
Kool Moe Dee,
Wally Richardson,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.