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 Zimbabwe and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1977.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 güiro 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 Kerrie Biddell to the grunge 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 Flipper. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Kevin Saunderson,
Avey Tare & Kría Brekkan,
Scrapy,
The Slackers,
Tubeway Army,
the Association,
Country Joe & The Fish,
Dorothy Ashby,
Bad Manners,
Dawn Penn,
Deepchord,
Eric B and Rakim,
Arthur Verocai,
Sex Pistols,
Banda Bassotti,
Peter & Gordon,
Andrew Ashong & Theo Parrish,
Bronski Beat,
Iggy Pop,
Colin Newman,
Malaria!,
La Düsseldorf,
Organ,
Minutemen,
Scientists,
Fela Kuti,
Surgeon,
The Monks,
The Wake,
DNA,
Lower 48,
Neil Young & Crazy Horse,
Main Source,
Swell Maps,
Simply Red,
Kaleidoscope,
The Music Machine,
Mr. Review,
Gregory Isaacs,
Throbbing Gristle,
Audionom,
Negative Approach,
Bobby Womack,
Dr. Dre and Snoop Doggy Dog,
UT,
Cabaret Voltaire,
Barclay James Harvest,
Mandrill,
DeepChord presents Echospace,
Avey Tare,
Inner City,
Echo & the Bunnymen,
Carl Craig,
The Seeds,
Japan,
The Angels of Light,
Television Personalities,
Flipper,
Beasts of Bourbon,
Nils Olav,
Joe Finger,
New Order,
Make Up, Make Up, Make Up, Make Up.
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.