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 Panama and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Salvador and Tehran.
I'm losing my edge to the art-school Columbus 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 arpeggiator 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 EPMD to the grunge kids.
I played it at the Crocodile.
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 the Germs. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Masters at Work,
Cybotron,
Gian Franco Pienzio,
Tommy Roe,
Max Romeo,
Orchestral Manoeuvres in the Dark,
Frankie Knuckles,
A Flock of Seagulls,
Visionaries,LMNO, T- Love & Iriscience,
Sly & The Family Stone,
Pantaleimon,
Saccharine Trust,
Livin' Joy,
Grauzone,
The Techniques,
Inner City,
The Vogues,
Deutsch Amerikanische Freundschaft,
Jacob Miller,
Country Joe & The Fish,
Richard Hell and the Voidoids,
Robert Görl,
Pylon,
The Mojo Men,
Theoretical Girls,
Buzzcocks,
Spandau Ballet,
Archie Shepp,
Radiohead,
Sound Behaviour,
Tubeway Army,
Crooked Eye,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joe Smooth,
48th St. Collective,
Leonard Cohen,
Lyres,
Fear,
The Count Five,
The Gap Band,
The Buckinghams,
Harpers Bizarre,
Country Teasers,
Gil Scott Heron,
Zero Boys,
Jerry's Kids,
Cecil Taylor,
Marvin Gaye,
The Birthday Party,
The Young Rascals,
Fort Wilson Riot,
Lalann,
Radio Birdman,
The Blackbyrds,
Das Ding,
Nik Kershaw,
Barry Ungar,
Echo & the Bunnymen,
Ken Boothe,
Hashim, Hashim, Hashim, Hashim.
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.