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 Madagascar and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1960 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Das Ding to the rap 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 Notorious BIG live in Amsterdam. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every KRS-One 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Eurythmics,
Pole,
Kings Of Tomorrow,
Soul II Soul,
Echospace,
KRS-One,
Major Organ And The Adding Machine,
The Grass Roots,
Funky Four + One,
Thee Headcoats,
Ice-T,
Stockholm Monsters,
L. Decosne,
Aural Exciters,
Sun City Girls,
Eric Dolphy,
Reuben Wilson,
Colin Newman,
A Certain Ratio,
The Flesh Eaters,
Blancmange,
Bauhaus,
Sly & The Family Stone,
Warren Ellis,
Cabaret Voltaire,
June Days,
Rotary Connection,
Malaria!,
JFA,
Wolf Eyes,
Section 25,
Rufus Thomas,
Sällskapet,
Smog,
Moby Grape,
Minor Threat,
Soulsonic Force,
Hashim,
Brass Construction,
Sugar Minott,
Nils Olav,
Avey Tare,
Kevin Saunderson,
Heavy D & The Boyz,
LL Cool J,
The Mummies,
Soft Machine,
Al Stewart,
Au Pairs,
Grey Daturas,
Strawberry Alarm Clock,
Lyres,
The Fire Engines,
The Monks,
Bobby Hutcherson,
La Düsseldorf,
Gil Scott Heron,
Swell Maps,
X-102,
Deakin,
The Sound,
the Association,
World's Most,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.