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 Sweden and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1979.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Stockholm 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 chamberlin 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 H. Thieme to the funk kids.
I played it at the 40 Watt.
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 The Mojo Men. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Soulsonic Force 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Grandmaster Flash and the Furious Five,
Drive Like Jehu,
Country Teasers,
The Doors,
Moebius,
Jawbox,
Shuggie Otis,
Man Parrish,
Gong,
Peter and Kerry,
Camberwell Now,
Bobby Hutcherson,
Carl Craig,
Soul II Soul,
Althea and Donna,
Röyhkä ja Rättö ja Lehtisalo,
These Immortal Souls,
Can,
Scrapy,
The Martian,
Marc Romboy vs. Booka Shade,
Buzzcocks,
K-Klass,
Sight & Sound,
Theoretical Girls,
The Mojo Men,
Organ,
Slick Rick,
Louis and Bebe Barron,
Todd Terry,
The Sound,
Vladislav Delay,
Byron Stingily,
Funky Four + One,
China Crisis,
The Index,
The Leaves,
Ajijia Myrayebe,
AZ,
Black Sheep,
Captain Beefheart & His Magic Band,
Notorious BIG live in Amsterdam,
Gil Scott-Heron and Jamie xx,
Parry Music,
Rosa Yemen,
Teenage Jesus and the Jerks,
Fluxion,
the Sonics,
Erasure,
Rowland S Howard / Lydia Lunch,
Marcia Griffiths,
The Moleskins,
Faust,
Flamin' Groovies,
Rites of Spring,
Skriet,
Michelle Simonal,
Cecil Taylor,
Terry Callier,
Neil Young & Crazy Horse,
Barrington Levy,
Mission of Burma,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.