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 Cape Verde and from Jakarta.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Delhi and Tehran.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Nas to the grime 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 FM Einheit. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Pete Rock & C.L. Smooth,
Super Lover Cee & Casanova Rud,
Peter and Kerry,
New Order,
The Slits,
Kango’s Stein Massive,
The Alarm Clocks,
Robert Wyatt,
Flipper,
Tomorrow,
Gang Gang Dance,
Outsiders,
CMW,
The Flesh Eaters,
Derrick May,
The Count Five,
Susan Cadogan,
the Fania All-Stars,
Pagans,
Bill Wells,
Marine Girls,
The Standells,
The Moody Blues,
cv313,
The New Christs,
Danielle Patucci,
Depeche Mode,
Symarip,
The Walker Brothers,
Mark Hollis,
Jacques Brel,
Archie Shepp,
Scrapy,
Heavy D & The Boyz,
Sister Nancy,
The Red Krayola,
Joyce Sims,
E-Dancer,
John Coltrane,
Hardrive,
Lower 48,
the Association,
Zero Boys,
Pylon,
Average White Band,
Sam Rivers,
Man Parrish,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
8 Eyed Spy,
Terry Callier,
Adolescents,
Ohio Players,
Porter Ricks,
Black Bananas,
Marvin Gaye,
Blossom Toes,
Niagra,
The Human League,
The Vogues,
Lightning Bolt,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.