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 Uganda and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1970.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Bologna 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Guru Guru to the dance kids.
I played it at the 40 Watt.
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 Kenny Larkin. All the underground hits.
All Clear Light 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 grunge 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
The Gun Club,
The Cowsills,
Bootsy Collins,
Liaisons Dangereuses,
Throbbing Gristle,
Erykah Badu,
Big Daddy Kane,
Grey Daturas,
ABBA,
Angry Samoans,
Siouxsie and the Banshees,
Marshall Jefferson,
Saccharine Trust,
Joensuu 1685,
Lonnie Liston Smith,
Skaos,
Flash Fearless,
Maleditus Sound,
Shoche,
Mantronix,
Black Bananas,
Girls At Our Best!,
MC5,
Harpers Bizarre,
A Certain Ratio,
The Shadows of Knight,
8 Eyed Spy,
Red Lorry Yellow Lorry,
The Sisters of Mercy,
Siglo XX,
Livin' Joy,
Eric Dolphy,
Piero Umiliani,
James Chance & The Contortions,
Bobby Sherman,
The Mummies,
Avey Tare's Slasher Flicks,
Gong,
Sad Lovers and Giants,
Niagra,
Lindisfarne,
DeepChord presents Echospace,
Henry Cow,
Desert Stars,
Procol Harum,
The Techniques,
The Red Krayola,
Adolescents,
Ice-T,
The Leaves,
Smog,
Alphaville,
Chris Corsano,
The Five Americans,
The Slackers,
Donny Hathaway,
The Happenings,
Rakim,
The Associates,
Arcadia,
The Move,
Gang Green, Gang Green, Gang Green, Gang Green.
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.