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 Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and New York.
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 linndrum 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 Ice-T to the electroclash 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 Duran Duran. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Gabor Szabo 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 arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
the Soft Cell,
The Gories,
Kas Product,
James Chance & The Contortions,
Saccharine Trust,
The Evens,
Bad Manners,
Lee Hazlewood,
Ronan,
The Residents,
The Alarm Clocks,
U.S. Maple,
Country Teasers,
Sam Rivers,
Idris Muhammad,
Gabor Szabo,
Tropical Tobacco,
Amon Düül,
The Pop Group,
Terrestrial Tones,
Angry Samoans,
Nation of Ulysses,
Al Stewart,
Max Romeo,
Bobby Womack,
Cabaret Voltaire,
Yazoo,
Erasure,
A Certain Ratio,
Nico,
Qualms,
Icehouse,
Robert Hood,
The J.B.'s,
The Grass Roots,
Liliput,
Bronski Beat,
Barry Ungar,
The Doobie Brothers,
Sticky Fingaz feat. Raekwon,
The Skatalites,
Ornette Coleman,
Eddi Front,
B.T. Express,
Mantronix,
The Busters,
Lebanon Hanover,
The Vogues,
Sandy B,
Man Eating Sloth,
Rufus Thomas,
The Stooges,
Eve St. Jones,
Goldenarms,
The Doors,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ash Ra Tempel,
Scratch Acid,
Grandmaster Flash,
Jandek,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.