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 Malta and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Houston.
I'm losing my edge to the art-school Lyon 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 Tom Verlaine 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 Judy Mowatt to the rap 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 Radiohead. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
Big Daddy Kane,
Ralphi Rosario,
Thee Headcoats,
The Mojo Men,
The Detroit Cobras,
The Mighty Diamonds,
Crash Course in Science,
Youth Brigade,
Mad Mike,
Lou Reed & Metallica,
Chrome,
The Royal Family And The Poor,
The Gap Band,
Fatback Band,
The Golliwogs,
Faust,
Bobby Hutcherson,
Moebius,
The Music Machine,
Gabor Szabo,
Shuggie Otis,
Heavy D & The Boyz,
Shoche,
Eric B and Rakim,
Ultra Naté,
Organ,
Flash Fearless,
Black Bananas,
Todd Rundgren,
John Holt,
Rakim,
The Residents,
Bootsy Collins,
These Immortal Souls,
Easy Going,
The Slackers,
The Litter,
Subhumans,
Wire,
Matthew Bourne,
Hardrive,
New Order,
Drexciya,
The Invisible,
Amazonics,
Barry Ungar,
Pierre Henry,
The Tremeloes,
Buzzcocks,
The Electric Prunes,
Gil Scott-Heron & Brian Jackson,
Ajijia Myrayebe,
The Buckinghams,
The Standells,
Stetsasonic,
Electric Light Orchestra,
Dennis Brown,
Röyhkä ja Rättö ja Lehtisalo,
Thompson Twins,
Jawbox,
Barrington Levy,
Marmalade,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.