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 Philippines and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Houston.
I'm losing my edge to the art-school Milan 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 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 Masters at Work to the disco kids.
I played it at the Roxy.
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 Michelle Simonal. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Jay Z And Juelz,
Marine Girls,
Hasil Adkins,
De La Soul & Jungle Brothers,
Banda Bassotti,
Anthony Braxton,
Moby Grape,
Urselle,
Soulsonic Force,
Pole,
Deakin,
Dead Boys,
The West Coast Pop Art Experimental Band,
Red Lorry Yellow Lorry,
The Dave Clark Five,
Ornette Coleman,
Tim Buckley,
The Invisible,
New Age Steppers,
Roy Ayers Ubiquity,
La Düsseldorf,
Aswad,
Joey Negro,
Freddie Wadling,
Cluster,
The Moleskins,
Yusef Lateef,
the Bar-Kays,
Chris Corsano,
Flash Fearless,
The Sonics,
Pere Ubu,
Half Japanese,
Toni Rubio,
Saccharine Trust,
Joe Smooth,
Gian Franco Pienzio,
Stetsasonic,
Audionom,
The Remains,
Cecil Taylor,
Aural Exciters,
Thinking Fellers Union Local 282,
Flipper,
The Gun Club,
Gary Puckett & The Union Gap,
The Litter,
Crooked Eye,
Glambeats Corp.,
Black Bananas,
the Sonics,
Eve St. Jones,
Avey Tare,
Essential Logic,
Sam Rivers,
Visionaries,LMNO, T- Love & Iriscience,
AZ,
Sixth Finger,
Gang Starr,
10cc,
Lebanon Hanover,
The Cure, The Cure, The Cure, The Cure.
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.