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 Chad and from Copenhagen.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Tokyo 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 synthesizer 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 Sonny Sharrock to the crunk kids.
I played it at the Hacienda.
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 David Axelrod. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Big Daddy Kane,
the Association,
Alison Limerick,
Swans,
Black Moon,
Visage,
Fugazi,
Shoche,
Fifty Foot Hose,
The J.B.'s,
The Fire Engines,
Harry Pussy,
H. Thieme,
Essential Logic,
Jawbox,
Negative Approach,
Soul II Soul,
Jeff Mills,
Maleditus Sound,
Reuben Wilson,
La Düsseldorf,
Liliput,
The Doobie Brothers,
Lucky Dragons,
Ajijia Myrayebe,
Bobby Sherman,
Swell Maps,
Judy Mowatt,
The Young Rascals,
Little Man,
The Happenings,
Talk Talk,
Lungfish,
Y Pants,
Pulsallama,
Don Cherry,
Andrew Hill,
Tommy Roe,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Martian,
Eve St. Jones,
It's A Beautiful Day,
Japan,
E-Dancer,
Alton Ellis,
The Flesh Eaters,
Howard Jones,
Infiniti,
Warsaw,
The Blues Magoos,
Monks,
Ituana,
L. Decosne,
Terry Callier,
Ultra Naté,
Amon Düül II,
Qualms,
Hashim,
Henry Cow,
D'Angelo,
The United States of America,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.