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 Dominican Republic and from Portland.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Milan 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Bill Wells to the crunk 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 Blancmange. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Aloha Tigers 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
The Neon Judgement,
Vainqueur,
H. Thieme,
The Remains,
John Lydon,
Piero Umiliani,
Don Cherry,
Kings Of Tomorrow,
B.T. Express,
Wings,
Ultravox,
Procol Harum,
Blake Baxter,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fat Boys,
Captain Beefheart & His Magic Band,
Beasts of Bourbon,
The Sonics,
Talk Talk,
Shuggie Otis,
Peter & Gordon,
Minny Pops,
Heavy D & The Boyz,
Nils Olav,
Soul Sonic Force,
The Chocolate Watch Band,
June of 44,
Soulsonic Force,
Monks,
Cybotron,
Alton Ellis,
Mo-Dettes,
Brick,
Skarface,
Curtis Mayfield,
Rufus Thomas,
Oneida,
The Modern Lovers,
Niagra,
Jesper Dahlback,
Moss Icon,
Wasted Youth,
The Saints,
Lafayette Afro Rock Band,
Bootsy Collins,
Deepchord,
Flipper,
Marine Girls,
Todd Terry,
Notorious BIG live in Amsterdam,
Boogie Down Productions,
Soul II Soul,
The Moleskins,
Fifty Foot Hose,
kango's stein massive,
The United States of America,
Sugar Minott,
Maurizio,
Cluster, Cluster, Cluster, Cluster.
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.