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 Togo and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Lyon 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 snare 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 Dennis Brown to the jazz kids.
I played it at CBGB's.
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 Alison Limerick. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Harry Pussy,
the Association,
The Slits,
The Leaves,
The Divine Comedy,
Subhumans,
Sarah Menescal,
The Index,
Los Fastidios,
Scott Walker,
Animal Collective,
The Martian,
Skarface,
Laurel Aitken,
Agitation Free,
Robert Hood,
T.S.O.L.,
The Litter,
Ash Ra Tempel,
Todd Terry,
Scion,
The Human League,
Marine Girls,
Jesper Dahlbäck,
Godley & Creme,
Piero Umiliani,
Tim Buckley,
Rhythim Is Rhythim,
Marc Romboy vs. Booka Shade,
Peter & Gordon,
Vainqueur,
Symarip,
Talk Talk,
Pete Rock & C.L. Smooth,
Quadrant,
Sly & The Family Stone,
Soft Machine,
Ossler,
Bauhaus,
Andrew Ashong & Theo Parrish,
Black Moon,
Joy Division,
Selector Dub Narcotic,
Barclay James Harvest,
Eden Ahbez,
The Sonics,
The Last Poets,
Public Image Ltd.,
K-Klass,
Danielle Patucci,
The Sound,
Scratch Acid,
Röyhkä ja Rättö ja Lehtisalo,
Mad Mike,
Chris Corsano,
Faust,
Graham Central Station,
The West Coast Pop Art Experimental Band,
Jeru the Damaja,
Skaos,
Spandau Ballet,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.