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 Algeria and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Accra 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 sitar sounds with much patience.
I was there when Robert Palmer 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 48th St. Collective to the dance kids.
I played it at Cafe Wha.
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 Urselle. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Barrington Levy 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
Pantytec,
The Tremeloes,
Skaos,
Red Lorry Yellow Lorry,
Urselle,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Foxx,
Royal Trux,
Angels of Light & Akron/Family,
Black Sheep,
The Gories,
Visage,
Alison Limerick,
Unrelated Segments,
Soul Sonic Force,
Soulsonic Force,
Dual Sessions,
Audionom,
Wings,
Carl Craig,
Groovy Waters,
The Star Department,
Sexual Harrassment,
The Remains,
Y Pants,
Jeff Lynne,
Bill Wells,
Kings Of Tomorrow,
Gary Puckett & The Union Gap,
June of 44,
The Litter,
Negative Approach,
Cameo,
Throbbing Gristle,
Howard Jones,
Pulsallama,
Babytalk,
Electric Light Orchestra,
Man Eating Sloth,
Bootsy's Rubber Band,
Lebanon Hanover,
Black Flag,
The Royal Family And The Poor,
Man Parrish,
Gastr Del Sol,
Kevin Saunderson,
Depeche Mode,
Crash Course in Science,
Vaughan Mason & Crew,
8 Eyed Spy,
PIL,
Bob Dylan,
Average White Band,
Soft Machine,
Eurythmics,
the Normal,
Scientists,
Scratch Acid,
Country Joe & The Fish,
Susan Cadogan,
The Techniques,
Rekid, Rekid, Rekid, Rekid.
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.