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 Jamaica and from Delhi.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Cecil Taylor to the grime kids.
I played it at the Astoria.
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 Minnie Riperton. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Barbara Tucker 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Bobby Womack,
Graham Central Station,
Rapeman,
Reagan Youth,
The Peanut Butter Conspiracy,
Rhythm & Sound,
Cal Tjader,
Rotary Connection,
Dead Boys,
Brothers Johnson,
Desert Stars,
Ronan,
Ultravox,
Fifty Foot Hose,
EPMD,
Strawberry Alarm Clock,
DJ Style,
Althea and Donna,
10cc,
Heavy D & The Boyz,
Sam Rivers,
Bad Manners,
Grauzone,
June of 44,
These Immortal Souls,
Swell Maps,
Scan 7,
Mission of Burma,
Lakeside,
Fear,
Pet Shop Boys,
Pere Ubu,
Jandek,
Funky Four + One,
Oneida,
Harry Pussy,
Joensuu 1685,
the Human League,
Swans,
The Detroit Cobras,
Gang Green,
Circle Jerks,
Quando Quango,
Radiohead,
Blake Baxter,
Public Enemy,
Grandmaster Flash and the Furious Five,
Joyce Sims,
Flipper,
Marshall Jefferson,
Sonic Youth,
Marcia Griffiths,
Black Moon,
Quantec,
It's A Beautiful Day,
New Age Steppers,
Essential Logic,
KRS-One,
A Certain Ratio,
Cybotron,
Selector Dub Narcotic,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.