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 Paraguay and from Salvador.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Cairo and Toronto.
I'm losing my edge to the art-school Portland 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Bobby Sherman to the grime 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 Derrick Morgan. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Blancmange 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 '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Kerrie Biddell,
The Walker Brothers,
Hoover,
Jesper Dahlback,
Girls At Our Best!,
Lonnie Liston Smith,
London Community Gospel Choir,
Pet Shop Boys,
Dark Day,
Sexual Harrassment,
Babytalk,
Black Pus,
Half Japanese,
Iggy Pop,
Oneida,
Visage,
Captain Beefheart & His Magic Band,
Gichy Dan,
Dead Boys,
Bang On A Can,
Marc Almond,
48th St. Collective,
Scion,
Quando Quango,
Lebanon Hanover,
Kurtis Blow,
Cecil Taylor,
A Certain Ratio,
Television,
Radiohead,
Pylon,
Wally Richardson,
the Fania All-Stars,
H. Thieme,
Supertramp,
Ultra Naté,
Althea and Donna,
8 Eyed Spy,
Major Organ And The Adding Machine,
Flash Fearless,
Jacob Miller,
Eurythmics,
Circle Jerks,
Moby Grape,
Absolute Body Control,
Joe Smooth,
Fluxion,
Sparks,
The Index,
The Fortunes,
Trumans Water,
R.M.O.,
Tropical Tobacco,
Slave,
Notorious BIG live in Amsterdam,
Tommy Roe,
Richard Hell and the Voidoids,
Derrick Morgan,
Bill Near,
Marc Romboy vs. Booka Shade,
Harry Pussy,
Big Daddy Kane,
DNA, DNA, DNA, DNA.
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.