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 Yemen 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 1964 to 1973.
I'm losing my edge.
To all the kids in Cairo and Lagos.
I'm losing my edge to the art-school Accra 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Kayak to the jazz kids.
I played it at Trash.
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 Lou Reed & John Cale. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
The Gun Club,
the Germs,
Oblivians,
Gichy Dan,
Andrew Ashong & Theo Parrish,
Matthew Halsall,
Kas Product,
Boz Scaggs,
The Sound,
Mantronix,
KRS-One,
Spandau Ballet,
Radiopuhelimet,
La Düsseldorf,
Shoche,
Tubeway Army,
Gang Starr,
Main Source,
Curtis Mayfield,
Derrick Morgan,
Alice Coltrane,
Scratch Acid,
Fela Kuti,
The Dirtbombs,
Au Pairs,
Malaria!,
The Residents,
the Soft Cell,
Section 25,
Supertramp,
Iggy Pop,
Major Organ And The Adding Machine,
Marcia Griffiths,
Piero Umiliani,
Kauko Röyhkä ja Narttu,
Sexual Harrassment,
U.S. Maple,
Underground Resistance,
the Slits,
Electric Light Orchestra,
Masters at Work,
Pantaleimon,
Barclay James Harvest,
Gastr Del Sol,
Andrew Hill,
The Dead C,
The Cosmic Jokers,
Agitation Free,
The Smiths,
Neil Young & Crazy Horse,
Nas,
Roy Ayers Ubiquity,
The Tremeloes,
Bobby Sherman,
The Cramps,
Lalann,
Wighnomy Brothers & Robag Wruhme,
Banda Bassotti,
Lizzy Mercier Descloux,
Sparks,
Frankie Knuckles,
Erasure, Erasure, Erasure, Erasure.
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.