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 Belize and from Milan.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 The Walker Brothers to the grunge 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 Darondo. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Brand Nubian,
Bobby Hutcherson,
Q65,
Lizzy Mercier Descloux,
Cluster,
Jandek,
Scientists,
The Count Five,
Eddi Front,
Don Cherry,
Beasts of Bourbon,
Liaisons Dangereuses,
Sister Nancy,
Sex Pistols,
Bootsy Collins,
Theoretical Girls,
This Heat,
Crooked Eye,
The Monks,
Derrick May,
One Last Wish,
Sexual Harrassment,
B.T. Express,
The Birthday Party,
Sugar Minott,
Susan Cadogan,
Notorious Big And Bone Thugs,
Byron Stingily,
Rod Modell,
Monks,
Pere Ubu,
Jerry's Kids,
H. Thieme,
Blancmange,
Boogie Down Productions,
Mandrill,
Alison Limerick,
Little Man,
Darondo,
CMW,
Saccharine Trust,
Anakelly,
Agent Orange,
Grandmaster Flash and the Furious Five,
Clear Light,
Jesper Dahlbäck,
Roy Ayers,
Roy Ayers Ubiquity,
Todd Terry,
K-Klass,
Strawberry Alarm Clock,
A Flock of Seagulls,
Tomorrow,
Piero Umiliani,
Kango’s Stein Massive,
Lou Christie,
De La Soul & Jungle Brothers,
Symarip,
The Royal Family And The Poor,
EPMD,
Suburban Knight,
Urselle,
Kings Of Tomorrow,
Quantec, Quantec, Quantec, Quantec.
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.