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 Thailand and from Hong Kong.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1976.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Mumbai 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Newcleus to the grunge 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 Sad Lovers and Giants. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Subhumans 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 '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Make Up,
Moss Icon,
LL Cool J,
The Star Department,
Model 500,
Camouflage,
Dead Boys,
Charles Mingus,
Eyeless In Gaza,
Shuggie Otis,
Delta 5,
Crispy Ambulance,
Eddi Front,
48th St. Collective,
The Sound,
The Durutti Column,
Crime,
Nas,
Letta Mbulu,
Michelle Simonal,
Simply Red,
Jesper Dahlbäck,
Nico,
Sarah Menescal,
Cheater Slicks,
Basic Channel,
Notorious Big And Bone Thugs,
the Bar-Kays,
Roy Ayers Ubiquity,
Chrome,
Bill Wells,
Tommy Roe,
Index,
Silicon Teens,
Ronnie Foster,
The Move,
Gabor Szabo,
Lonnie Liston Smith,
Gregory Isaacs,
Selector Dub Narcotic,
Rotary Connection,
Lalann,
ABC,
De La Soul & Jungle Brothers,
Derrick Morgan,
Bizarre Inc.,
Johnny Osbourne,
The Motions,
Tropical Tobacco,
The Tremeloes,
Easy Going,
The Modern Lovers,
Brass Construction,
Freddie Wadling,
Fort Wilson Riot,
The Cramps,
The Walker Brothers,
Eric Dolphy,
Yaz,
Zero Boys,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.