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 Botswana and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Spokane 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Techniques to the grime kids.
I played it at the Astoria.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Barbara Tucker 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Mary Jane Girls,
Prince Buster,
The Jesus and Mary Chain,
K-Klass,
Black Flag,
The Dirtbombs,
James White and The Blacks,
Los Fastidios,
Lebanon Hanover,
Banda Bassotti,
Andrew Ashong & Theo Parrish,
Nick Cave & The Bad Seeds,
Q and Not U,
Swell Maps,
Livin' Joy,
Lonnie Liston Smith,
the Soft Cell,
Crooked Eye,
The Smoke,
The Divine Comedy,
Camberwell Now,
ABBA,
Albert Ayler,
Interpol,
Pierre Henry,
Popol Vuh,
Monks,
Godley & Creme,
Young Marble Giants,
In Retrospect,
Lalann,
The Fugs,
The Angels of Light,
Pulsallama,
The Names,
The Litter,
Mr. Review,
Talk Talk,
The Mummies,
The Motions,
The Fortunes,
Sugar Minott,
Röyhkä ja Rättö ja Lehtisalo,
Bush Tetras,
Camron Feat. Memphis Bleek And Beenie Seigel,
Symarip,
The Sonics,
Khruangbin,
Ronnie Foster,
The Fall,
Kerrie Biddell,
Dennis Brown,
Strawberry Alarm Clock,
Monolake,
Minnie Riperton,
Cal Tjader,
Selector Dub Narcotic,
Sonny Sharrock,
Al Stewart,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.