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 Cameroon and from Delhi.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Mumbai 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 DJ Style to the techno kids.
I played it at the Hacienda.
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 Fluxion. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Richard Hell and the Voidoids,
Desert Stars,
The Grass Roots,
Stiv Bators,
Organ,
The Doors,
Barrington Levy,
Vaughan Mason & Crew,
Gichy Dan,
The Monochrome Set,
Yazoo,
Tears for Fears,
Negative Approach,
The Cowsills,
Fatback Band,
Max Romeo,
Sun Ra,
Con Funk Shun,
Jacques Brel,
Wasted Youth,
Junior Murvin,
T. Rex,
Deakin,
Sound Behaviour,
Depeche Mode,
Mars,
Man Parrish,
The Angels of Light,
Kool Moe Dee,
A Certain Ratio,
Soulsonic Force,
Nation of Ulysses,
Barry Ungar,
The Toasters,
The Fortunes,
Gil Scott-Heron & Brian Jackson,
Massinfluence,
Scrapy,
X-102,
Country Teasers,
It's A Beautiful Day,
Eddi Front,
Slave,
Bill Wells,
The Buckinghams,
Excepter,
Trumans Water,
EPMD,
Brick,
Grandmaster Flash,
Brass Construction,
Spandau Ballet,
Japan,
Rahsaan Roland Kirk,
Nas,
Country Joe & The Fish,
Ice-T,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.