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 Lebanon and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Public Enemy to the crunk kids.
I played it at Cafe Wha.
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 Hoover. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
CMW,
B.T. Express,
Theoretical Girls,
Malaria!,
AZ,
Electric Light Orchestra,
the Association,
R.M.O.,
DJ Style,
Kevin Saunderson,
Saccharine Trust,
Blake Baxter,
Crash Course in Science,
the Sonics,
Suburban Knight,
Major Organ And The Adding Machine,
Ajijia Myrayebe,
Au Pairs,
Echospace,
Mr. Review,
The Music Machine,
Prince Buster,
Derrick Morgan,
Joe Finger,
Todd Terry,
Grandmaster Flash,
Red Lorry Yellow Lorry,
It's A Beautiful Day,
Jacques Brel,
Bizarre Inc.,
John Cale,
Matthew Bourne,
Unrelated Segments,
Spandau Ballet,
K-Klass,
The Velvet Underground,
Electric Prunes,
Sällskapet,
Symarip,
The Smoke,
Sticky Fingaz feat. Raekwon,
Jeff Lynne,
Bob Dylan,
Severed Heads,
Shuggie Otis,
Donny Hathaway,
Pharoah Sanders,
Neu!,
MC5,
Lakeside,
Justin Hinds & The Dominoes,
Marc Almond,
Eric Dolphy,
The Golliwogs,
Fela Kuti,
Bill Wells,
Sandy B,
Mars,
Tres Demented,
Ultramagnetic MC's,
The Monochrome Set,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.