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 Djibouti and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Halifax and New York.
I'm losing my edge to the art-school Shanghai 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 guitar 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 Porter Ricks to the jazz kids.
I played it at the 40 Watt.
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 Ronnie Foster. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Nils Olav,
Jerry Gold Smith,
World's Most,
Pharaoh Sanders and the Fire Engines,
Lafayette Afro Rock Band,
Deadbeat,
Angry Samoans,
the Normal,
Pantaleimon,
Funkadelic,
Terrestrial Tones,
Rapeman,
Depeche Mode,
David Axelrod,
Blake Baxter,
Camron Feat. Jay Z And Juelz,
Newcleus,
Idris Muhammad,
EPMD,
Lonnie Liston Smith,
Silicon Teens,
Man Parrish,
Drive Like Jehu,
Fear,
10cc,
Fluxion,
Hot Snakes,
Model 500,
Skarface,
Mission of Burma,
Gang Starr,
Kings Of Tomorrow,
Ultravox,
Nick Fraelich,
Rahsaan Roland Kirk,
Man Eating Sloth,
The Smiths,
June Days,
La Düsseldorf,
Easy Going,
Lindisfarne,
Mars,
The Index,
CMW,
The Mighty Diamonds,
Faraquet,
Oppenheimer Analysis,
the Human League,
Ronan,
Ornette Coleman,
Franke,
Isaac Hayes,
Warsaw,
the Sonics,
Janne Schatter,
Lightning Bolt,
The Martian,
The Vogues,
Camberwell Now,
China Crisis, China Crisis, China Crisis, China Crisis.
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.