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 Dominica and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Manila 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 organ 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 Lower 48 to the disco kids.
I played it at the Crocodile.
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 Frankie Knuckles. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Anthony Braxton,
Avey Tare,
Eve St. Jones,
Delta 5,
Lebanon Hanover,
The Pop Group,
Monks,
Fat Boys,
Deakin,
the Fania All-Stars,
Brass Construction,
Spandau Ballet,
Rosa Yemen,
Nik Kershaw,
Mars,
Radiohead,
The Wake,
The New Christs,
Sixth Finger,
Swans,
The Fortunes,
Bill Wells,
Archie Shepp,
In Retrospect,
The Black Dice,
Dead Boys,
Joe Smooth,
Radio Birdman,
Max Romeo,
ABBA,
Soft Cell,
Television,
Agent Orange,
Eden Ahbez,
Major Organ And The Adding Machine,
Sun Ra,
The Kinks,
Livin' Joy,
Ronan,
Gong,
David Axelrod,
The Mummies,
Pierre Henry,
The Happenings,
Minnie Riperton,
Darondo,
Black Sheep,
Frankie Knuckles,
Alice Coltrane,
Maleditus Sound,
The Vogues,
Orchestral Manoeuvres in the Dark,
A Certain Ratio,
Pet Shop Boys,
Isaac Hayes,
Lucky Dragons,
Ultra Naté,
Sun City Girls,
The Music Machine,
Ken Boothe,
Erasure, Erasure, Erasure, Erasure.
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.