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 Zimbabwe and from Tokyo.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Beijing and Manchester.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 June of 44 to the jazz kids.
I played it at the Crocodile.
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 Joyce Sims. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Andrew Hill 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 '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Gang Green,
Barbara Tucker,
Inner City,
Gong,
Gil Scott-Heron & Brian Jackson,
Henry Cow,
Porter Ricks,
Brass Construction,
Marmalade,
The Barracudas,
PIL,
Jeff Mills,
Boz Scaggs,
Jacob Miller,
Malaria!,
Brick,
Cluster,
The Evens,
Nik Kershaw,
This Heat,
Maleditus Sound,
Wasted Youth,
The Gap Band,
Procol Harum,
Mary Jane Girls,
Minnie Riperton,
the Sonics,
DNA,
Rakim,
A Flock of Seagulls,
FM Einheit,
The Residents,
Gil Scott-Heron and Jamie xx,
Rapeman,
Livin' Joy,
De La Soul & Jungle Brothers,
Newcleus,
The Star Department,
Country Joe & The Fish,
Tropical Tobacco,
Laurel Aitken,
Beasts of Bourbon,
Youth Brigade,
Mark Hollis,
David McCallum,
Scratch Acid,
Spoonie Gee,
Bobbi Humphrey,
Man Eating Sloth,
Ultra Naté,
Ohio Players,
Urselle,
Letta Mbulu,
Albert Ayler,
Moby Grape,
The Chocolate Watch Band,
The Durutti Column,
Black Sheep,
The Red Krayola,
Moss Icon,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.