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 Gambia and from Sao Paulo.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 Lou Reed 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 Gregory Isaacs to the funk kids.
I played it at the Spitz.
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 Rotary Connection. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Judy Mowatt,
The Move,
Reuben Wilson,
Wings,
The Cowsills,
Chris Corsano,
Television,
Panda Bear,
Jeff Lynne,
Reagan Youth,
Bobby Womack,
Pylon,
Minor Threat,
Louis and Bebe Barron,
The Offenders,
Nirvana,
Vaughan Mason & Crew,
Delta 5,
Jandek,
Cal Tjader,
Joensuu 1685,
Fat Boys,
Unwound,
Arthur Verocai,
Boz Scaggs,
Parry Music,
the Sonics,
The Young Rascals,
Spoonie Gee,
Visage,
Cabaret Voltaire,
Sad Lovers and Giants,
Man Eating Sloth,
Silicon Teens,
The Raincoats,
Blancmange,
Art Ensemble Of Chicago,
Todd Rundgren,
Vainqueur,
B.T. Express,
Tropical Tobacco,
Boredoms,
Bang On A Can,
La Düsseldorf,
Alphaville,
Khruangbin,
Donald Byrd,
John Foxx,
Lou Reed,
Toni Rubio,
Dr. Dre and Snoop Doggy Dog,
Danielle Patucci,
John Coltrane,
Sixth Finger,
Ken Boothe,
Soulsonic Force,
Strawberry Alarm Clock,
Country Joe & The Fish,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.