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 Micronesia and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Jakarta 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 guitar 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 48th St. Collective to the disco kids.
I played it at the Astoria.
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 Motions. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal rap 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 a harpsichord and a marimba 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 spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Ultra Naté,
A Flock of Seagulls,
Marcia Griffiths,
John Lydon,
Stockholm Monsters,
Chris & Cosey,
Joe Finger,
Shuggie Otis,
Hashim,
The Sound,
10cc,
Magazine,
Jeff Mills,
The Barracudas,
Echo & the Bunnymen,
Alton Ellis,
Boredoms,
Eric B and Rakim,
Bizarre Inc.,
Traffic Nightmare,
Throbbing Gristle,
Moebius,
Johnny Clarke,
Motorama,
Jandek,
Deepchord,
Rites of Spring,
Joey Negro,
Jacques Brel,
Avey Tare & Kría Brekkan,
R.M.O.,
Monks,
Althea and Donna,
The Moleskins,
Gichy Dan,
China Crisis,
The Techniques,
The Men They Couldn't Hang,
Pole,
The Happenings,
Delon & Dalcan,
Dennis Brown,
Hasil Adkins,
Malaria!,
The Cure,
The Velvet Underground,
Vaughan Mason & Crew,
Flamin' Groovies,
Liliput,
The Trojans,
Bobby Hutcherson,
Nirvana,
Ultramagnetic MC's,
Infiniti,
the Germs,
Manfred Mann's Earth Band,
Warren Ellis,
Echospace,
Thinking Fellers Union Local 282,
Blake Baxter,
Sly & The Family Stone,
Connie Case,
The Gun Club,
Eurythmics,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.