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 Togo and from Tokyo.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Manila 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 Nile Rodgers 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 Dennis Brown to the dance kids.
I played it at the Troubador.
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 Mandrill. All the underground hits.
All UT tracks. I heard you have a vinyl of every David Bowie 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Scrapy,
Pete Rock & C.L. Smooth,
June Days,
Groovy Waters,
Sun Ra,
X-101,
Scott Walker + Sunn O))),
Throbbing Gristle,
Max Romeo,
Television,
The Busters,
Judy Mowatt,
The Associates,
Glambeats Corp.,
Warren Ellis,
Oppenheimer Analysis,
Skarface,
Louis and Bebe Barron,
Sound Behaviour,
Avey Tare,
Notorious Big And Bone Thugs,
Ken Boothe,
Motorama,
Lee Hazlewood,
Wolf Eyes,
Robert Wyatt,
Derrick May,
Major Organ And The Adding Machine,
David McCallum,
8 Eyed Spy,
The Monochrome Set,
Rod Modell,
Unwound,
Funky Four + One,
Eddi Front,
Fluxion,
Carl Craig,
Jimmy McGriff,
The Shadows of Knight,
Larry & the Blue Notes,
Brass Construction,
Au Pairs,
Mantronix,
Heavy D & The Boyz,
Charles Mingus,
F. McDonald,
Susan Cadogan,
Flash Fearless,
U.S. Maple,
Mo-Dettes,
Lonnie Liston Smith,
Avey Tare's Slasher Flicks,
Bob Dylan,
The Index,
Soulsonic Force,
Crooked Eye,
the Sonics,
Janne Schatter,
The Standells,
Kerri Chandler,
48th St. Collective,
Sparks, Sparks, Sparks, Sparks.
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.