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 Bahamas and from Philadelphia.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Sao Paulo.
I'm losing my edge to the art-school Glasgow 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 marimba 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 Oneida to the funk kids.
I played it at Cafe Wha.
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 Porter Ricks. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Oppenheimer Analysis,
Ken Boothe,
Boogie Down Productions,
Public Enemy,
Urselle,
The Buckinghams,
Barry Ungar,
The Skatalites,
Guru Guru,
John Coltrane,
Spandau Ballet,
Gil Scott-Heron and Jamie xx,
Animal Collective,
Alison Limerick,
Lalo Schifrin,
The Remains,
New York Dolls,
Brick,
Crash Course in Science,
Yellowson,
Bill Near,
Gil Scott-Heron & Brian Jackson,
T. Rex,
Jacques Brel,
Neu!,
The Fuzztones,
Deakin,
Fela Kuti,
Bob Dylan,
Letta Mbulu,
Barrington Levy,
Bootsy Collins,
Accadde A,
Fad Gadget,
Mandrill,
the Normal,
Susan Cadogan,
Archie Shepp,
Nik Kershaw,
Tim Buckley,
Excepter,
Inner City,
Pete Rock & C.L. Smooth,
Scrapy,
Aswad,
Maleditus Sound,
The Motions,
Kas Product,
Electric Light Orchestra,
Todd Rundgren,
Bobby Hutcherson,
Donald Byrd,
Sticky Fingaz feat. Raekwon,
Pierre Henry,
Godley & Creme,
Bobbi Humphrey,
Grauzone,
Steve Hackett,
The Wake,
Lou Reed & Metallica,
Gang Green, Gang Green, Gang Green, Gang Green.
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.