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 Papua New Guinea and from New York.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Halifax 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 Lewis practice in a loft in Vancouver.
I was working on the oboe 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 Chris & Cosey to the dance 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 Donald Byrd. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Little Man,
The Slackers,
Chrome,
Unrelated Segments,
Jacob Miller,
Stiv Bators,
Joy Division,
Severed Heads,
The Star Department,
The Litter,
Model 500,
Danielle Patucci,
Byron Stingily,
Alphaville,
Neu!,
Joey Negro,
Boredoms,
Niagra,
F. McDonald,
Jerry's Kids,
Dorothy Ashby,
Curtis Mayfield,
The Selecter,
Eurythmics,
Das Ding,
Skarface,
The Pretty Things,
Richard Hell and the Voidoids,
The Durutti Column,
The Sisters of Mercy,
The Dave Clark Five,
Kool Moe Dee,
La Düsseldorf,
The Music Machine,
Electric Prunes,
Morten Harket,
Bang On A Can,
The Fire Engines,
DJ Style,
Jeff Mills,
The Cosmic Jokers,
Tears for Fears,
Rufus Thomas,
Bootsy Collins,
Rhythim Is Rhythim,
Judy Mowatt,
Bang on a Can All-Stars,
Matthew Bourne,
The Happenings,
The Young Rascals,
Frankie Knuckles,
London Community Gospel Choir,
Quantec,
Peter and Kerry,
Tomorrow,
Scott Walker,
Crash Course in Science,
Scrapy,
Neil Young,
Lou Reed & Metallica,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.