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 Cuba and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Halifax and Winnipeg.
I'm losing my edge to the art-school Edmonton 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 clarinet 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 Section 25 to the jazz 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 Minor Threat. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Erasure,
Stockholm Monsters,
Black Bananas,
Scott Walker + Sunn O))),
Marine Girls,
Lower 48,
B.T. Express,
Marc Almond,
The Smoke,
Richard Hell and the Voidoids,
Arab on Radar,
The Detroit Cobras,
Simply Red,
Gabor Szabo,
Ponytail,
Quando Quango,
Patti Smith,
Y Pants,
The Leaves,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lebanon Hanover,
Circle Jerks,
New York Dolls,
Tears for Fears,
Motorama,
Boredoms,
Hasil Adkins,
Minnie Riperton,
Swell Maps,
Metal Thangz,
cv313,
Camron Feat. Memphis Bleek And Beenie Seigel,
Visage,
Pole,
Traffic Nightmare,
Connie Case,
Kas Product,
Rakim,
Todd Terry,
Bronski Beat,
Procol Harum,
Gian Franco Pienzio,
Spandau Ballet,
The Shadows of Knight,
Dark Day,
Franke,
Bobby Womack,
The Dave Clark Five,
Orchestral Manoeuvres in the Dark,
The Pop Group,
Sister Nancy,
Mandrill,
Andrew Hill,
Sandy B,
The Flesh Eaters,
Blossom Toes,
Inner City,
Agitation Free,
The Chocolate Watch Band,
DNA,
Spoonie Gee,
EPMD, EPMD, EPMD, EPMD.
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.