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 Senegal and from New York.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Shanghai 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 linndrum 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 EPMD to the punk kids.
I played it at Trash.
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 Thinking Fellers Union Local 282. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Johnny Clarke,
Depeche Mode,
Jimmy McGriff,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Slits,
Wolf Eyes,
Derrick Morgan,
Larry & the Blue Notes,
The Dead C,
Strawberry Alarm Clock,
Royal Trux,
Clear Light,
Eurythmics,
Saccharine Trust,
Byron Stingily,
The Vogues,
Arthur Verocai,
Sun Ra,
Rufus Thomas,
Boredoms,
The Fire Engines,
Quadrant,
Siglo XX,
Chrome,
Tropical Tobacco,
Severed Heads,
Masters at Work,
T.S.O.L.,
Hardrive,
The Alarm Clocks,
Maurizio,
Sister Nancy,
The Neon Judgement,
Scion,
The Red Krayola,
The Walker Brothers,
Peter and Kerry,
Pet Shop Boys,
The Litter,
Selector Dub Narcotic,
Major Organ And The Adding Machine,
Oblivians,
Sparks,
Easy Going,
The West Coast Pop Art Experimental Band,
Zero Boys,
Pantytec,
Underground Resistance,
Rekid,
Rod Modell,
Ornette Coleman,
Bizarre Inc.,
Trumans Water,
Black Flag,
Marc Romboy vs. Booka Shade,
Beasts of Bourbon,
The Offenders,
A Certain Ratio,
Little Man,
Joe Smooth,
Lou Reed,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.