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 Nauru and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Johannesburg and Winnipeg.
I'm losing my edge to the art-school Paris 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Cure to the electroclash 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 Funky Four + One. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
David Bowie,
Interpol,
D'Angelo,
Mo-Dettes,
Subhumans,
Yaz,
The Sisters of Mercy,
The Alarm Clocks,
Kool G Rap & DJ Polo,
James White and The Blacks,
Marmalade,
Brand Nubian,
The Count Five,
Radiohead,
Rufus Thomas,
Quadrant,
Bobbi Humphrey,
Infiniti,
Ken Boothe,
Parry Music,
Danielle Patucci,
Pole,
Rapeman,
Laurel Aitken,
Matthew Bourne,
The Divine Comedy,
The Selecter,
Gabor Szabo,
Black Pus,
Shuggie Otis,
The Vogues,
Groovy Waters,
Theoretical Girls,
Stetsasonic,
Dawn Penn,
Surgeon,
The Last Poets,
Mandrill,
the Normal,
the Fania All-Stars,
Aural Exciters,
Brothers Johnson,
Wolf Eyes,
Lalo Schifrin,
Neil Young,
Qualms,
Lou Christie,
Ronan,
Loose Ends,
Marshall Jefferson,
Marine Girls,
Spoonie Gee,
Bronski Beat,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Cramps,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.