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 Cambodia and from Mexico City.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school London 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Roy Ayers to the grime kids.
I played it at the Troubador.
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 Marshall Jefferson. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal rock 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
UT,
Soul II Soul,
The Divine Comedy,
Banda Bassotti,
Moby Grape,
Stereo Dub,
Vainqueur,
Echo & the Bunnymen,
The Gladiators,
Jeff Mills,
Terror Squad Feat. Camron,
Alice Coltrane,
LL Cool J,
Cecil Taylor,
The Chocolate Watch Band,
Joy Division,
Notorious BIG live in Amsterdam,
The Monks,
Gong,
Max Romeo,
Funkadelic,
John Foxx,
Ossler,
Man Eating Sloth,
Sun Ra Arkestra,
Tom Boy,
Q65,
Guru Guru,
Yellowson,
The Birthday Party,
Joey Negro,
Kurtis Blow,
Supertramp,
Sun City Girls,
Dave Gahan,
Das Ding,
the Germs,
Mo-Dettes,
Johnny Osbourne,
Lee Hazlewood,
Crispian St. Peters,
AZ,
the Bar-Kays,
The Peanut Butter Conspiracy,
The American Breed,
The Fuzztones,
Lou Reed & John Cale,
Röyhkä ja Rättö ja Lehtisalo,
X-101,
Isaac Hayes,
Maleditus Sound,
The Busters,
Liliput,
Brothers Johnson,
Peter & Gordon,
Icehouse,
Underground Resistance,
Jerry Gold Smith,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.