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 Bahrain and from Taipei.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Gregory Isaacs to the disco 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 Main Source. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ 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 theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
K-Klass,
Model 500,
Boogie Down Productions,
Lou Reed,
Ornette Coleman,
Rowland S Howard / Lydia Lunch,
Grey Daturas,
ABBA,
T.S.O.L.,
Kas Product,
Jacques Brel,
the Association,
Eli Mardock,
The Cure,
Deutsch Amerikanische Freundschaft,
OOIOO,
Heavy D & The Boyz,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eric Copeland,
Pierre Henry,
E-Dancer,
World's Most,
Bobby Hutcherson,
Justin Hinds & The Dominoes,
Can,
Ultravox,
B.T. Express,
Todd Rundgren,
Tubeway Army,
Cameo,
Pet Shop Boys,
Oneida,
The Star Department,
CMW,
Mandrill,
Arthur Verocai,
Cymande,
ABC,
The Five Americans,
Easy Going,
Echo & the Bunnymen,
Funky Four + One,
Crispy Ambulance,
The Flesh Eaters,
John Foxx,
Sly & The Family Stone,
Louis and Bebe Barron,
Gang of Four,
Ponytail,
Saccharine Trust,
Smog,
Basic Channel,
Trumans Water,
Alton Ellis,
Sex Pistols,
The Victims,
The Cramps,
Matthew Bourne,
Joe Finger,
Sparks,
The Monochrome Set,
Rakim,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.