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 Bahrain and from Bologna.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Barry Ungar to the jazz kids.
I played it at the Astoria.
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 Bootsy Collins. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Parry Music 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
the Association,
EPMD,
Colin Newman,
Camberwell Now,
Rhythm & Sound,
Maleditus Sound,
Glambeats Corp.,
The Doobie Brothers,
Lafayette Afro Rock Band,
Cluster,
Pete Rock & C.L. Smooth,
Masters at Work,
Ultravox,
The Techniques,
OOIOO,
N.O.R.E. Featuring Pharrell,
Buzzcocks,
Lucky Dragons,
Ice-T,
The Men They Couldn't Hang,
Minor Threat,
Danielle Patucci,
LL Cool J,
Tom Boy,
Graham Central Station,
Beasts of Bourbon,
MDC,
Heaven 17,
Half Japanese,
Con Funk Shun,
Steve Hackett,
Accadde A,
Nico,
Fifty Foot Hose,
Matthew Bourne,
Rakim,
Oneida,
Roy Ayers,
The Peanut Butter Conspiracy,
Roy Ayers Ubiquity,
Davy DMX,
Swell Maps,
Bad Manners,
Delta 5,
The Residents,
Lee Hazlewood,
Jesper Dahlback,
Pharoah Sanders,
The Angels of Light,
Kerri Chandler,
Hasil Adkins,
the Sonics,
The Human League,
Essential Logic,
Reuben Wilson,
Joey Negro,
The Music Machine,
The Electric Prunes,
The Young Rascals,
Eric Dolphy,
A Certain Ratio,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.