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 Bosnia Herzegovina and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Accra and Beijing.
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 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 Donald Fagen 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 Kerri Chandler to the funk kids.
I played it at the Roxy.
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 Lou Christie. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Delon & Dalcan,
Mandrill,
Goldenarms,
The Residents,
Sound Behaviour,
Johnny Clarke,
Scratch Acid,
Aloha Tigers,
Siglo XX,
Young Marble Giants,
Johnny Osbourne,
Rod Modell,
Gian Franco Pienzio,
Bobbi Humphrey,
Red Lorry Yellow Lorry,
Hot Snakes,
Ken Boothe,
Oneida,
Donald Byrd,
Nick Fraelich,
Alton Ellis,
Black Sheep,
Kaleidoscope,
Super Lover Cee & Casanova Rud,
Maurizio,
Slick Rick,
Deutsch Amerikanische Freundschaft,
Tropical Tobacco,
UT,
Peter Gordon & Love of Life Orchestra,
Crispy Ambulance,
Silicon Teens,
The Sonics,
Main Source,
Ituana,
Das Ding,
Kevin Saunderson,
Colin Newman,
Crooked Eye,
Ohio Players,
Pulsallama,
X-102,
Pylon,
John Lydon,
Sixth Finger,
Dorothy Ashby,
Stockholm Monsters,
Electric Prunes,
The Leaves,
Connie Case,
Anakelly,
The Black Dice,
Jerry Gold Smith,
Avey Tare,
Kauko Röyhkä ja Narttu,
The Blackbyrds,
The Chocolate Watch Band,
Nirvana,
ABBA,
Eric Dolphy,
Bizarre Inc.,
Girls At Our Best!,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.