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 Paraguay and from Johannesburg.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 John Foxx to the dance 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 Associates. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
The Raincoats,
the Fania All-Stars,
Swans,
The Star Department,
D'Angelo,
Boogie Down Productions,
La Düsseldorf,
Rites of Spring,
Model 500,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Erasure,
ABC,
Excepter,
Main Source,
Public Enemy,
Gichy Dan,
Bronski Beat,
Cymande,
Deadbeat,
The Neon Judgement,
Wire,
The Motions,
Crispy Ambulance,
Second Layer,
Zero Boys,
Toni Rubio,
Crime,
The Last Poets,
Arcadia,
Danielle Patucci,
Magazine,
Parry Music,
Rakim,
The Gories,
Connie Case,
Vladislav Delay,
Gong,
Lou Reed & John Cale,
Pharoah Sanders,
Alton Ellis,
Fatback Band,
Pere Ubu,
Terry Callier,
Pantaleimon,
Lalann,
Cal Tjader,
Ronnie Foster,
Stockholm Monsters,
Tommy Roe,
Eric Dolphy,
Matthew Halsall,
John Foxx,
Art Ensemble Of Chicago,
LL Cool J,
Delon & Dalcan,
The Fortunes,
DJ Sneak,
Kango’s Stein Massive,
Dawn Penn,
the Normal,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.