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 South Sudan and from Manchester.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1973.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Lagos 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 snare 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 Scott Walker to the rap 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 Maleditus Sound. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
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 Motorama record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
The Fire Engines,
Wally Richardson,
Public Image Ltd.,
Marc Almond,
Jeff Mills,
the Bar-Kays,
Bang on a Can All-Stars,
Infiniti,
The Modern Lovers,
Fela Kuti,
Royal Trux,
the Sonics,
Marshall Jefferson,
Andrew Hill,
Funkadelic,
DeepChord presents Echospace,
Michelle Simonal,
Gong,
Kauko Röyhkä ja Narttu,
The Stooges,
Richard Hell and the Voidoids,
CMW,
The Doors,
the Swans,
Joyce Sims,
Severed Heads,
D'Angelo,
Eve St. Jones,
Yaz,
Ultimate Spinach,
Sly & The Family Stone,
The Offenders,
Stetsasonic,
The Saints,
the Normal,
David McCallum,
Man Eating Sloth,
Nick Fraelich,
Ornette Coleman,
The Skatalites,
The American Breed,
Jesper Dahlback,
JFA,
The New Christs,
The Selecter,
Albert Ayler,
Gary Puckett & The Union Gap,
Masters at Work,
Ultravox,
Lalann,
The Busters,
Selector Dub Narcotic,
Dr. Dre and Snoop Doggy Dog,
Ronnie Foster,
Mars,
Teenage Jesus and the Jerks,
Suicide,
Kerrie Biddell,
Bobbi Humphrey,
Sixth Finger,
Pantytec,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.