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 Antigua and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Cairo 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 Girls At Our Best! to the grunge 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 Fluxion. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Flash Fearless,
Robert Hood,
Chris Corsano,
Ajijia Myrayebe,
Crispian St. Peters,
Marine Girls,
A Certain Ratio,
The Raincoats,
Kauko Röyhkä ja Narttu,
Steve Hackett,
Ornette Coleman,
Interpol,
Ultra Naté,
Heavy D & The Boyz,
The Royal Family And The Poor,
Slave,
Morten Harket,
Glambeats Corp.,
Arthur Verocai,
Deadbeat,
The Fire Engines,
Icehouse,
Junior Murvin,
Barrington Levy,
Josef K,
The Detroit Cobras,
The Pop Group,
Moby Grape,
Hardrive,
David Bowie,
Skaos,
Boogie Down Productions,
These Immortal Souls,
Juan Atkins,
Wire,
Blake Baxter,
Ralphi Rosario,
E-Dancer,
EPMD,
Louis and Bebe Barron,
L. Decosne,
Barclay James Harvest,
The Gladiators,
Half Japanese,
Ice-T,
Lower 48,
The Cowsills,
The Cramps,
T. Rex,
The Dirtbombs,
Franke,
Max Romeo,
Alton Ellis,
Pole,
Dual Sessions,
Kaleidoscope,
DNA,
The Doors,
Rapeman,
Marcia Griffiths,
Au Pairs,
Kango’s Stein Massive,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.