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 Bosnia Herzegovina and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Portland and Spokane.
I'm losing my edge to the art-school Stockholm 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Public Enemy to the disco 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 Monks. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
Heavy D & The Boyz,
Terrestrial Tones,
Talk Talk,
Kerrie Biddell,
Model 500,
Bobby Hutcherson,
the Fania All-Stars,
Mary Jane Girls,
Spandau Ballet,
Sugar Minott,
OOIOO,
the Germs,
Grauzone,
Roxy Music,
The West Coast Pop Art Experimental Band,
Bill Near,
Bauhaus,
The Techniques,
Ponytail,
The Men They Couldn't Hang,
Eden Ahbez,
Sandy B,
Adolescents,
Circle Jerks,
Amazonics,
kango's stein massive,
Fear,
Selector Dub Narcotic,
MDC,
Rahsaan Roland Kirk,
Lou Reed & John Cale,
UT,
Electric Prunes,
Nick Cave & The Bad Seeds,
Moebius,
Liaisons Dangereuses,
Lucky Dragons,
Ralphi Rosario,
Beasts of Bourbon,
Deakin,
Depeche Mode,
The Young Rascals,
Man Eating Sloth,
Masters at Work,
Roger Hodgson,
EPMD,
Barbara Tucker,
PIL,
Dennis Brown,
Television Personalities,
Soft Machine,
Schoolly D,
DeepChord presents Echospace,
Porter Ricks,
48th St. Collective,
The Happenings,
Flipper,
The Angels of Light,
Bobbi Humphrey,
Mantronix,
Notorious Big And Bone Thugs,
Sexual Harrassment,
The Index, The Index, The Index, The Index.
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.