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 United Kingdom and from Hong Kong.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Lagos.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Ossler to the jazz 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 Max Romeo. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Associates 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?
Avey Tare & Kría Brekkan,
The Vogues,
Alton Ellis,
JFA,
Los Fastidios,
Moby Grape,
Angry Samoans,
Desert Stars,
Donny Hathaway,
Electric Prunes,
Unrelated Segments,
Red Lorry Yellow Lorry,
Echospace,
The Victims,
Supertramp,
Moss Icon,
Clear Light,
Sunsets and Hearts,
Pet Shop Boys,
Terry Callier,
Nick Cave & The Bad Seeds,
Television,
Selector Dub Narcotic,
Crime,
The Techniques,
Make Up,
The Gap Band,
Barrington Levy,
Basic Channel,
Jesper Dahlbäck,
Funkadelic,
The Busters,
Minny Pops,
Bootsy's Rubber Band,
Andrew Ashong & Theo Parrish,
Rites of Spring,
Babytalk,
Goldenarms,
Jacques Brel,
Icehouse,
Depeche Mode,
Essential Logic,
DNA,
The Real Kids,
The Doors,
The Tremeloes,
the Soft Cell,
Charles Mingus,
The Pop Group,
Warsaw,
Gil Scott-Heron & Brian Jackson,
Underground Resistance,
Bill Wells,
The Slackers,
Joey Negro,
Rahsaan Roland Kirk,
Manfred Mann's Earth Band,
Barbara Tucker,
Tom Boy,
Iggy Pop,
Bobby Byrd,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.