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 Solomon Islands and from Philadelphia.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Notorious BIG live in Amsterdam to the jazz kids.
I played it at the Spitz.
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 Lower 48. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Brothers Johnson 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Searchers,
Andrew Hill,
Kauko Röyhkä ja Narttu,
Sister Nancy,
Warren Ellis,
D'Angelo,
Marcia Griffiths,
The Skatalites,
The Music Machine,
Gang of Four,
Cybotron,
Spoonie Gee,
Marvin Gaye,
Selector Dub Narcotic,
Babytalk,
Electric Prunes,
Black Flag,
Bauhaus,
Cymande,
The Invisible,
R.M.O.,
The Barracudas,
Peter and Kerry,
The Move,
Derrick Morgan,
The Mummies,
These Immortal Souls,
Kerri Chandler,
Maleditus Sound,
Alison Limerick,
Zapp,
Gong,
Hardrive,
Pierre Henry,
Echo & the Bunnymen,
ABC,
Vainqueur,
Section 25,
Camouflage,
The Smiths,
The Flesh Eaters,
Magazine,
The Pop Group,
Gichy Dan,
The Monks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Average White Band,
The Cowsills,
Thinking Fellers Union Local 282,
MC5,
Monolake,
Pantaleimon,
Joyce Sims,
Peter & Gordon,
T.S.O.L.,
Nirvana,
The Dead C,
The Gories,
Monks,
Dark Day,
Teenage Jesus and the Jerks,
Marshall Jefferson,
The Knickerbockers,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.