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 Micronesia and from Cairo.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Toronto 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 Holger Czukay 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 Deutsch Amerikanische Freundschaft to the rock kids.
I played it at the Crocodile.
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 Interpol. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Cymande record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Jacques Brel,
Art Ensemble Of Chicago,
the Germs,
The Men They Couldn't Hang,
Wally Richardson,
Tom Boy,
The Fortunes,
Grandmaster Flash and the Furious Five,
The United States of America,
Lonnie Liston Smith,
Half Japanese,
June Days,
the Human League,
Kings Of Tomorrow,
Johnny Osbourne,
Neil Young & Crazy Horse,
Juan Atkins,
Lee Hazlewood,
Super Lover Cee & Casanova Rud,
the Bar-Kays,
Ludus,
Marshall Jefferson,
Bill Wells,
Guru Guru,
Circle Jerks,
Nik Kershaw,
The Durutti Column,
Soul II Soul,
Arab on Radar,
The Walker Brothers,
Gian Franco Pienzio,
Bang On A Can,
Tres Demented,
The Slackers,
Piero Umiliani,
The Blackbyrds,
Cabaret Voltaire,
James White and The Blacks,
Brass Construction,
Radiohead,
Terry Callier,
Au Pairs,
MC5,
Adolescents,
A Certain Ratio,
The Star Department,
Patti Smith,
H. Thieme,
Country Joe & The Fish,
Pharaoh Sanders and the Fire Engines,
Pete Rock & C.L. Smooth,
Jimmy McGriff,
Sun Ra Arkestra,
The Index,
Echospace,
Bobbi Humphrey,
The Pretty Things,
Bronski Beat,
Model 500,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.