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 Burkina and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1972.
I'm losing my edge.
To all the kids in Edmonton and Beijing.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when Robert Palmer 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 Blancmange to the funk 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 Nas. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Agitation Free,
John Lydon,
The Saints,
Anakelly,
Hardrive,
Gian Franco Pienzio,
The Fire Engines,
Arcadia,
Quadrant,
The Doors,
Robert Hood,
the Human League,
Fatback Band,
Todd Terry,
Nation of Ulysses,
Fort Wilson Riot,
The Offenders,
Fat Boys,
The Count Five,
Mantronix,
Lou Christie,
Harry Pussy,
Gang Green,
Yusef Lateef,
Be Bop Deluxe,
David McCallum,
The Barracudas,
Boz Scaggs,
Niagra,
The Red Krayola,
Intrusion,
Deadbeat,
Oppenheimer Analysis,
The Gladiators,
Aural Exciters,
Robert Görl,
Youth Brigade,
Altered Images,
Make Up,
Roxette,
Tim Buckley,
Liliput,
Echo & the Bunnymen,
Roy Ayers Ubiquity,
Warren Ellis,
Nirvana,
Archie Shepp,
Absolute Body Control,
The Zeros,
New York Dolls,
Manfred Mann's Earth Band,
Ludus,
Livin' Joy,
Groovy Waters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Aloha Tigers,
Electric Light Orchestra,
The Martian,
Bobby Sherman,
The Last Poets,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.