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 Gabon and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1977.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school London 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Can to the jazz 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 Kool Moe Dee. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every The Residents 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 '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Hasil Adkins,
Jerry's Kids,
Fela Kuti,
Sad Lovers and Giants,
Bobby Womack,
Louis and Bebe Barron,
Justin Hinds & The Dominoes,
Gil Scott-Heron and Jamie xx,
Cameo,
The Trojans,
John Coltrane,
Bauhaus,
China Crisis,
Dr. Dre and Snoop Doggy Dog,
The Fuzztones,
The Fall,
Soul II Soul,
The Electric Prunes,
Eurythmics,
The Monochrome Set,
Chris Corsano,
Avey Tare,
The Evens,
Oneida,
Marvin Gaye,
EPMD,
Spandau Ballet,
Slave,
Popol Vuh,
Swell Maps,
The Stooges,
Banda Bassotti,
Ten City,
Sly & The Family Stone,
The Happenings,
Stetsasonic,
Second Layer,
cv313,
Gregory Isaacs,
Inner City,
Japan,
Moby Grape,
Lebanon Hanover,
Crispian St. Peters,
June of 44,
Motorama,
Red Lorry Yellow Lorry,
Aloha Tigers,
Echospace,
Jeff Mills,
Morten Harket,
Desert Stars,
Basic Channel,
The Offenders,
Delon & Dalcan,
Hoover,
Judy Mowatt,
Throbbing Gristle,
Andrew Ashong & Theo Parrish,
Minny Pops,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.