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 Morocco and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Beijing 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Khruangbin 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 Pharoah Sanders. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Mantronix,
Connie Case,
The Music Machine,
Mark Hollis,
Loose Ends,
The J.B.'s,
Laurel Aitken,
The Move,
Deakin,
Stockholm Monsters,
Nik Kershaw,
Schoolly D,
Maurizio,
Graham Central Station,
Grandmaster Flash,
Camberwell Now,
The Golliwogs,
Charles Mingus,
The Cowsills,
Andrew Ashong & Theo Parrish,
Eli Mardock,
Eyeless In Gaza,
Frankie Knuckles,
Judy Mowatt,
Au Pairs,
The Neon Judgement,
Soul II Soul,
David Axelrod,
Excepter,
Josef K,
Lou Christie,
La Düsseldorf,
Brothers Johnson,
Procol Harum,
Amazonics,
Quando Quango,
The Litter,
Zapp,
Toni Rubio,
Arcadia,
Vaughan Mason & Crew,
Kauko Röyhkä ja Narttu,
The Cosmic Jokers,
The Men They Couldn't Hang,
The Real Kids,
Lightning Bolt,
The Velvet Underground,
Young Marble Giants,
Smog,
Technova,
Organ,
In Retrospect,
Bobby Sherman,
Oblivians,
Black Flag,
Jerry Gold Smith,
Unwound,
Rufus Thomas,
AZ,
Pharaoh Sanders and the Fire Engines,
Brand Nubian,
The Trojans, The Trojans, The Trojans, The Trojans.
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.