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 Iran and from Winnipeg.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Calgary and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Rhythm & Sound to the funk kids.
I played it at the Hacienda.
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 Prince Buster. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Neil Young,
Sunsets and Hearts,
Tears for Fears,
K-Klass,
Ajijia Myrayebe,
Wasted Youth,
Deadbeat,
Roxette,
Circle Jerks,
Cameo,
The Remains,
Wally Richardson,
The Beau Brummels,
Kurtis Blow,
PIL,
L. Decosne,
The Fall,
Marmalade,
The Cure,
Monks,
Fluxion,
Q and Not U,
Massinfluence,
Terrestrial Tones,
Rhythm & Sound,
10cc,
Alphaville,
Funky Four + One,
Flamin' Groovies,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wings,
Drive Like Jehu,
Cabaret Voltaire,
Skriet,
Glambeats Corp.,
Steve Hackett,
The Invisible,
Avey Tare & Kría Brekkan,
Drexciya,
The United States of America,
Heavy D & The Boyz,
Franke,
ABBA,
The Fuzztones,
48th St. Collective,
Accadde A,
Rekid,
Lee Hazlewood,
Siglo XX,
Fad Gadget,
Heaven 17,
Pulsallama,
The Index,
Groovy Waters,
Gil Scott-Heron and Jamie xx,
Andrew Ashong & Theo Parrish,
Nirvana,
Grandmaster Flash,
Skaos,
Jandek,
Sparks, Sparks, Sparks, Sparks.
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.