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 Austria and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Lyon 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 oboe sounds with much patience.
I was there when Robert Palmer 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 The Knickerbockers to the jazz kids.
I played it at the Spitz.
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 Art Ensemble Of Chicago. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every The American Breed 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 '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Swans,
Youth Brigade,
Kool Moe Dee,
Thompson Twins,
The West Coast Pop Art Experimental Band,
Unwound,
Khruangbin,
Simply Red,
Aural Exciters,
Porter Ricks,
Larry & the Blue Notes,
The Chocolate Watch Band,
The New Christs,
Infiniti,
Drexciya,
Lucky Dragons,
Gang of Four,
The Standells,
The Black Dice,
John Cale,
Marc Romboy vs. Booka Shade,
Ohio Players,
Clear Light,
Girls At Our Best!,
Gregory Isaacs,
KRS-One,
The Cure,
Connie Case,
The Index,
Deadbeat,
Rotary Connection,
Susan Cadogan,
The Barracudas,
Rekid,
Marmalade,
The Real Kids,
EPMD,
Cal Tjader,
48th St. Collective,
The Sonics,
Ice-T,
Anakelly,
Matthew Bourne,
Sound Behaviour,
Tom Boy,
Freddie Wadling,
Tropical Tobacco,
Barclay James Harvest,
Soft Cell,
Country Joe & The Fish,
Swell Maps,
Avey Tare,
LL Cool J,
Pussy Galore,
Davy DMX,
Essential Logic,
Monks,
The Cramps,
Teenage Jesus and the Jerks,
Spoonie Gee,
PIL,
Rapeman,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.