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 Colombia and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Salvador.
I'm losing my edge to the art-school Seoul 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 spring reverb 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 Pantaleimon to the grunge kids.
I played it at the Hacienda.
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 David Axelrod. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Charles Mingus,
Crooked Eye,
Panda Bear,
Jacques Brel,
Crime,
The Real Kids,
The Angels of Light,
Talk Talk,
Popol Vuh,
The Fortunes,
Vaughan Mason & Crew,
John Coltrane,
Ludus,
Robert Wyatt,
Bluetip,
Motorama,
Bang On A Can,
John Holt,
The Star Department,
Jerry's Kids,
Echospace,
Sarah Menescal,
Brass Construction,
Gang of Four,
Agent Orange,
Country Teasers,
Byron Stingily,
Adolescents,
Ohio Players,
The Zeros,
Scott Walker,
The Velvet Underground,
Röyhkä ja Rättö ja Lehtisalo,
Jeff Lynne,
Buzzcocks,
Alice Coltrane,
Jesper Dahlback,
Banda Bassotti,
Alison Limerick,
Tom Boy,
Marc Almond,
Lucky Dragons,
Robert Görl,
Rapeman,
New Order,
Gang Green,
Gerry Rafferty,
Delta 5,
Selector Dub Narcotic,
The Busters,
Zapp,
Camberwell Now,
Gichy Dan,
Davy DMX,
Whodini,
Fifty Foot Hose,
Shoche,
Blossom Toes,
Cecil Taylor,
The Detroit Cobras,
Ralphi Rosario,
AZ, AZ, AZ, AZ.
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.