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 Benin and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Accra 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 Donald Fagen 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 Howard Jones to the techno 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 the Association. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Man Eating Sloth 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Dorothy Ashby,
Gichy Dan,
Cheater Slicks,
Oppenheimer Analysis,
DeepChord presents Echospace,
Jesper Dahlback,
Leonard Cohen,
Funkadelic,
Amon Düül II,
X-101,
The Motions,
Bobby Byrd,
The Sound,
Rufus Thomas,
Cameo,
Hot Snakes,
Patti Smith,
The American Breed,
Deadbeat,
Grandmaster Flash and the Furious Five,
Spoonie Gee,
Erykah Badu,
The Sisters of Mercy,
Sun Ra,
Inner City,
Tropical Tobacco,
Gil Scott-Heron and Jamie xx,
Second Layer,
Johnny Clarke,
Maleditus Sound,
China Crisis,
The Smoke,
Ultramagnetic MC's,
EPMD,
Bauhaus,
Traffic Nightmare,
Nick Fraelich,
The Jesus and Mary Chain,
Peter & Gordon,
DJ Style,
Magma,
Red Lorry Yellow Lorry,
Deutsch Amerikanische Freundschaft,
Notorious BIG live in Amsterdam,
Sonic Youth,
The Slits,
cv313,
Selector Dub Narcotic,
Underground Resistance,
Teenage Jesus and the Jerks,
48th St. Collective,
Howard Jones,
Don Cherry,
Kurtis Blow,
The Offenders,
The Skatalites,
Chris Corsano,
The Fall,
Matthew Bourne,
Aural Exciters,
Grandmaster Flash,
Robert Hood,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.