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 Maldives and from Winnipeg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1972.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Woodstock 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Offenders to the rock kids.
I played it at CBGB's.
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 Mark Hollis. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Leonard Cohen 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Neil Young,
Letta Mbulu,
Inner City,
Connie Case,
Drive Like Jehu,
Slick Rick,
Lyres,
Ultimate Spinach,
Cabaret Voltaire,
Peter & Gordon,
The Alarm Clocks,
Toni Rubio,
FM Einheit,
The Star Department,
CMW,
The Kinks,
David Bowie,
Grauzone,
The Wake,
Andrew Hill,
Schoolly D,
L. Decosne,
Procol Harum,
Matthew Bourne,
the Soft Cell,
The Black Dice,
Gabor Szabo,
Goldenarms,
Nik Kershaw,
Isaac Hayes,
Blossom Toes,
Laurel Aitken,
Lightning Bolt,
Marcia Griffiths,
Crispian St. Peters,
The Count Five,
Tres Demented,
Röyhkä ja Rättö ja Lehtisalo,
The Dirtbombs,
Nation of Ulysses,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Outsiders,
Spoonie Gee,
Derrick May,
UT,
Sparks,
Hardrive,
Basic Channel,
Rapeman,
Yaz,
Lee Hazlewood,
Chris & Cosey,
Notorious BIG live in Amsterdam,
Charles Mingus,
Sonic Youth,
Ronan,
Sexual Harrassment,
The Trojans,
Japan,
Tom Boy,
The Beau Brummels,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.