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 Samoa and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Salvador 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 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 World's Most to the rock kids.
I played it at Cafe Wha.
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 Neu!. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
John Coltrane,
The Jesus and Mary Chain,
Cabaret Voltaire,
Lou Reed & John Cale,
cv313,
Hoover,
Peter & Gordon,
Joensuu 1685,
The Sound,
Radiopuhelimet,
Anthony Braxton,
Fluxion,
Vladislav Delay,
Dorothy Ashby,
Big Daddy Kane,
Country Joe & The Fish,
Alphaville,
Oppenheimer Analysis,
The Modern Lovers,
The Selecter,
Intrusion,
Eric Copeland,
X-101,
Wally Richardson,
Minnie Riperton,
Barrington Levy,
Interpol,
MDC,
John Cale,
Tom Boy,
Goldenarms,
Funkadelic,
Clear Light,
KRS-One,
Mary Jane Girls,
Funky Four + One,
Masters at Work,
Röyhkä ja Rättö ja Lehtisalo,
Pierre Henry,
The Mojo Men,
Nation of Ulysses,
Vainqueur,
Adolescents,
Beasts of Bourbon,
New Age Steppers,
The Doobie Brothers,
Lonnie Liston Smith,
Second Layer,
Sad Lovers and Giants,
Sly & The Family Stone,
Animal Collective,
Altered Images,
Radio Birdman,
Malaria!,
The Birthday Party,
London Community Gospel Choir,
Nils Olav,
Deepchord,
Fat Boys,
U.S. Maple,
Lakeside, Lakeside, Lakeside, Lakeside.
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.