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 Tuvalu and from Spokane.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the 808 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 Rakim to the jazz kids.
I played it at the Troubador.
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 Brothers Johnson. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
LL Cool J,
Scratch Acid,
Fad Gadget,
The Associates,
Eden Ahbez,
David Bowie,
48th St. Collective,
Anthony Braxton,
Thinking Fellers Union Local 282,
the Normal,
David McCallum,
The Saints,
The Buckinghams,
Faraquet,
Lizzy Mercier Descloux,
Dark Day,
Ronnie Foster,
Essential Logic,
Nick Fraelich,
The Gun Club,
Lalann,
Matthew Bourne,
Swell Maps,
Panda Bear,
Brass Construction,
The Golliwogs,
Depeche Mode,
Make Up,
Porter Ricks,
Yellowson,
Marmalade,
Frankie Knuckles,
Television,
Ossler,
Donald Byrd,
Juan Atkins,
Little Man,
Derrick May,
Glenn Branca,
Gil Scott Heron,
Sexual Harrassment,
Lou Reed,
CMW,
Chris & Cosey,
Dave Gahan,
Con Funk Shun,
Negative Approach,
Wire,
Lucky Dragons,
Toni Rubio,
The Move,
Barry Ungar,
Hoover,
Larry & the Blue Notes,
The Searchers,
Soulsonic Force,
Sugar Minott,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.