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 Senegal and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Accra 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 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 Sonic Youth to the dance 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 Drexciya. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick 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?
Max Romeo,
The Grass Roots,
Ten City,
Buzzcocks,
The Gun Club,
Toni Rubio,
Q and Not U,
UT,
Shoche,
Crispy Ambulance,
Brand Nubian,
Talk Talk,
Severed Heads,
Duran Duran,
The Mojo Men,
Alison Limerick,
Nils Olav,
Roy Ayers Ubiquity,
The Cowsills,
Roxette,
Japan,
Louis and Bebe Barron,
The Fall,
The Royal Family And The Poor,
Cabaret Voltaire,
Anakelly,
Organ,
Hasil Adkins,
Minor Threat,
Joe Smooth,
Soft Cell,
The Last Poets,
The Gap Band,
Minnie Riperton,
Index,
Laurel Aitken,
The Leaves,
Bang on a Can All-Stars,
Tim Buckley,
Kas Product,
The Offenders,
U.S. Maple,
Traffic Nightmare,
Rhythim Is Rhythim,
Man Eating Sloth,
Quadrant,
Oblivians,
Derrick Morgan,
Alphaville,
Josef K,
The Sisters of Mercy,
Bobby Sherman,
Agitation Free,
The Electric Prunes,
Gil Scott Heron,
Larry & the Blue Notes,
Neil Young,
The Trojans,
Gang of Four,
Avey Tare & Kría Brekkan,
Saccharine Trust,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.