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 Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Paris.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Scott Walker to the crunk kids.
I played it at the Roxy.
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 The Men They Couldn't Hang. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Sight & Sound,
Marshall Jefferson,
Tomorrow,
Interpol,
Rhythim Is Rhythim,
Bauhaus,
Black Pus,
Symarip,
The Doobie Brothers,
Sun Ra Arkestra,
The Smoke,
The Fugs,
Rosa Yemen,
Visionaries,LMNO, T- Love & Iriscience,
Lyres,
The Fuzztones,
Marcia Griffiths,
Dark Day,
Model 500,
K-Klass,
Parry Music,
Joyce Sims,
Moebius,
June of 44,
The Vogues,
The Smiths,
Davy DMX,
The Velvet Underground,
Gil Scott Heron,
Bobbi Humphrey,
Ponytail,
Roxy Music,
Anthony Braxton,
Rufus Thomas,
F. McDonald,
Make Up,
Mars,
Con Funk Shun,
Rhythm & Sound,
The Gories,
Popol Vuh,
Saccharine Trust,
Ronan,
Archie Shepp,
Crooked Eye,
The Mighty Diamonds,
Richard Hell and the Voidoids,
Roy Ayers Ubiquity,
The Young Rascals,
Connie Case,
Glambeats Corp.,
Kauko Röyhkä ja Narttu,
The Barracudas,
Lalann,
Lower 48,
The Human League,
The Red Krayola,
The Chocolate Watch Band,
Kings Of Tomorrow,
Bootsy's Rubber Band,
Banda Bassotti,
The Beau Brummels,
the Human League, the Human League, the Human League, the Human League.
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.