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 Belgium and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1971.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Jeru the Damaja to the rap kids.
I played it at the Spitz.
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 Scott Walker. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Al Stewart 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Desert Stars,
The Index,
Visionaries,LMNO, T- Love & Iriscience,
Pete Rock & C.L. Smooth,
Public Enemy,
Anthony Braxton,
Tres Demented,
The Pop Group,
The Shadows of Knight,
The Flesh Eaters,
Procol Harum,
Derrick May,
OOIOO,
Eric B and Rakim,
Jerry's Kids,
Blancmange,
Unwound,
Cymande,
Radio Birdman,
Ralphi Rosario,
The Slackers,
Kerrie Biddell,
Stiv Bators,
The Fall,
Tom Boy,
Boredoms,
Tommy Roe,
Godley & Creme,
Tomorrow,
Mary Jane Girls,
Piero Umiliani,
Wighnomy Brothers & Robag Wruhme,
Zapp,
Von Mondo,
Blossom Toes,
Vaughan Mason & Crew,
London Community Gospel Choir,
Ludus,
Nirvana,
The Doobie Brothers,
Curtis Mayfield,
Scott Walker + Sunn O))),
Young Marble Giants,
Loose Ends,
Scott Walker,
Deutsch Amerikanische Freundschaft,
Monolake,
The Standells,
Joe Smooth,
Gregory Isaacs,
Quantec,
Yaz,
The Fugs,
Hardrive,
A Certain Ratio,
Jimmy McGriff,
Flipper,
David Axelrod,
The Sound,
the Sonics,
Gong,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.