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 San Marino and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Toronto 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 snare 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 Pharoah Sanders to the grime 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 Suburban Knight. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Barclay James Harvest 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 '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Reagan Youth record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Neil Young & Crazy Horse,
kango's stein massive,
New Age Steppers,
DJ Sneak,
A Flock of Seagulls,
Bang on a Can All-Stars,
The Leaves,
Lou Christie,
The Skatalites,
Mary Jane Girls,
Don Cherry,
Fluxion,
Black Moon,
Sad Lovers and Giants,
Ohio Players,
Marmalade,
Loose Ends,
Kaleidoscope,
Schoolly D,
The Wake,
Major Organ And The Adding Machine,
David McCallum,
Wighnomy Brothers & Robag Wruhme,
Kenny Larkin,
Aaron Thompson,
Funkadelic,
Nation of Ulysses,
Jimmy McGriff,
Buzzcocks,
Kas Product,
Joe Finger,
Oppenheimer Analysis,
Ultra Naté,
Brass Construction,
Stereo Dub,
Peter Gordon & Love of Life Orchestra,
Gang Gang Dance,
Rapeman,
Al Stewart,
Pylon,
Gastr Del Sol,
The Blues Magoos,
The Smiths,
Stockholm Monsters,
Sound Behaviour,
The Zeros,
Procol Harum,
The Slits,
Suburban Knight,
Crime,
Ossler,
Bobby Sherman,
The United States of America,
The Dirtbombs,
The Neon Judgement,
The Sisters of Mercy,
Unwound,
Soul Sonic Force,
Idris Muhammad,
The Smoke,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.