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 Macedonia and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1977.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Delhi 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 organ 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 Intrusion to the grunge kids.
I played it at Trash.
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 Public Enemy. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Wire 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
The New Christs,
KRS-One,
Eve St. Jones,
Kurtis Blow,
Monks,
The Raincoats,
Bush Tetras,
Art Ensemble Of Chicago,
Robert Wyatt,
Rakim,
The Peanut Butter Conspiracy,
Matthew Bourne,
The Searchers,
Public Enemy,
Shuggie Otis,
Circle Jerks,
Pylon,
Erasure,
Eric Copeland,
Kool G Rap & DJ Polo,
Gil Scott-Heron and Jamie xx,
Charles Mingus,
Sound Behaviour,
Arthur Verocai,
Andrew Hill,
Nirvana,
Pere Ubu,
Tomorrow,
the Swans,
The Modern Lovers,
Bizarre Inc.,
H. Thieme,
F. McDonald,
Orchestral Manoeuvres in the Dark,
The Standells,
Sonny Sharrock,
Big Daddy Kane,
Anthony Braxton,
Pet Shop Boys,
the Germs,
the Association,
Beasts of Bourbon,
Röyhkä ja Rättö ja Lehtisalo,
Kool Moe Dee,
Liaisons Dangereuses,
Pussy Galore,
Erykah Badu,
Cabaret Voltaire,
Drexciya,
Curtis Mayfield,
The Mummies,
The Martian,
Crooked Eye,
Ludus,
The Kinks,
Kas Product,
Barrington Levy,
Ossler,
Kerri Chandler,
Joey Negro,
Ken Boothe,
Monolake, Monolake, Monolake, Monolake.
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.