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 Micronesia and from Mumbai.
But I was there.
I was there in .
I was there at the first Suicide 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 1972.
I'm losing my edge.
To all the kids in Stockholm and Houston.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Avey Tare's Slasher Flicks to the rap 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 The Move. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Andrew Hill,
Mr. Review,
Angry Samoans,
Quadrant,
Todd Terry,
Masters at Work,
Crooked Eye,
Qualms,
Brick,
Sonny Sharrock,
The Dave Clark Five,
Los Fastidios,
The Star Department,
The American Breed,
the Swans,
Drexciya,
Gil Scott-Heron & Brian Jackson,
Mars,
The Barracudas,
Cecil Taylor,
Cameo,
Surgeon,
Warsaw,
Cluster,
Wolf Eyes,
The Music Machine,
Harry Pussy,
Niagra,
Peter & Gordon,
Bill Near,
Gary Puckett & The Union Gap,
Danielle Patucci,
8 Eyed Spy,
Jimmy McGriff,
Eurythmics,
The Trojans,
Nico,
Gang of Four,
Oppenheimer Analysis,
Alice Coltrane,
Richard Hell and the Voidoids,
Half Japanese,
Massinfluence,
Pharoah Sanders,
The Flesh Eaters,
Suicide,
Spandau Ballet,
Bush Tetras,
Audionom,
Eric Dolphy,
Ultra Naté,
David Bowie,
Sad Lovers and Giants,
Nils Olav,
Buzzcocks,
Clear Light,
Roy Ayers,
Con Funk Shun,
Peter Gordon & Love of Life Orchestra,
Fat Boys,
Electric Light Orchestra,
The Skatalites,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.