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 Guinea and from Lagos.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Seoul 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 1971 at the first Big Star practice in a loft in Memphis.
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 Inner City to the funk 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 Roxy Music. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Pole,
Young Marble Giants,
Saccharine Trust,
Ronan,
Motorama,
Eurythmics,
Swell Maps,
Minnie Riperton,
Basic Channel,
La Düsseldorf,
The United States of America,
CMW,
Barrington Levy,
Davy DMX,
The Fortunes,
The Cramps,
Harmonia,
Second Layer,
FM Einheit,
Peter Gordon & Love of Life Orchestra,
Skarface,
Sam Rivers,
Agent Orange,
The Evens,
Outsiders,
Sound Behaviour,
Audionom,
Livin' Joy,
The Blackbyrds,
Porter Ricks,
Symarip,
Desert Stars,
Tears for Fears,
A Flock of Seagulls,
Gang Gang Dance,
Ajijia Myrayebe,
Neu!,
Black Moon,
The Peanut Butter Conspiracy,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Techniques,
Goldenarms,
Cabaret Voltaire,
Arthur Verocai,
Chris Corsano,
Vaughan Mason & Crew,
Interpol,
a-ha,
Lalann,
Graham Central Station,
The Saints,
Major Organ And The Adding Machine,
kango's stein massive,
Aaron Thompson,
Rites of Spring,
Althea and Donna,
Whodini,
Smog,
John Coltrane,
Hasil Adkins,
Boredoms,
K-Klass, K-Klass, K-Klass, K-Klass.
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.