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 Kosovo and from Glasgow.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Mexico City 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 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 The Grass Roots to the grunge kids.
I played it at Trash.
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 Eric Copeland. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Rhythm & Sound,
Soul II Soul,
Fatback Band,
Ultramagnetic MC's,
The Cramps,
the Sonics,
One Last Wish,
Jerry's Kids,
Matthew Bourne,
Kauko Röyhkä ja Narttu,
Excepter,
Television,
The Gladiators,
Lee Hazlewood,
Black Flag,
Lou Christie,
E-Dancer,
Pagans,
The Associates,
Monks,
Cybotron,
H. Thieme,
Danielle Patucci,
Mary Jane Girls,
Eric B and Rakim,
The Cure,
The Motions,
Tres Demented,
The West Coast Pop Art Experimental Band,
Lou Reed & Metallica,
Archie Shepp,
Scan 7,
Ituana,
Urselle,
Alison Limerick,
Jerry Gold Smith,
Young Marble Giants,
The Jesus and Mary Chain,
Gang Starr,
Byron Stingily,
Sandy B,
The Dirtbombs,
David Bowie,
Magma,
Kas Product,
Glenn Branca,
Ohio Players,
Deadbeat,
Godley & Creme,
The Count Five,
Letta Mbulu,
The Fortunes,
Pussy Galore,
Isaac Hayes,
Janne Schatter,
Pole,
Camberwell Now,
Bill Wells,
Jeff Lynne,
UT,
U.S. Maple,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.