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 Uruguay and from Jakarta.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Oneida to the punk kids.
I played it at Trash.
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 Isaac Hayes. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Nation of Ulysses 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Beasts of Bourbon,
Pantaleimon,
The Fuzztones,
Q65,
The Angels of Light,
Johnny Clarke,
Kenny Larkin,
Sonny Sharrock,
OOIOO,
Be Bop Deluxe,
Scott Walker,
Robert Hood,
Arcadia,
The Star Department,
The Pretty Things,
Rapeman,
Funkadelic,
Underground Resistance,
Toni Rubio,
AZ,
Japan,
Boogie Down Productions,
Kas Product,
Oblivians,
Procol Harum,
Swans,
Neu!,
Delta 5,
Wire,
Gian Franco Pienzio,
Harry Pussy,
Bobby Byrd,
Andrew Hill,
Justin Hinds & The Dominoes,
Fort Wilson Riot,
Bobby Hutcherson,
The American Breed,
Deadbeat,
Ten City,
Rod Modell,
The Doors,
John Foxx,
Zero Boys,
Grandmaster Flash,
Gregory Isaacs,
Todd Terry,
It's A Beautiful Day,
Soft Machine,
Avey Tare,
Pete Rock & C.L. Smooth,
Donny Hathaway,
Rowland S Howard / Lydia Lunch,
Lindisfarne,
Albert Ayler,
Jacob Miller,
Severed Heads,
Pierre Henry,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.