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 Guyana and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lille and Jakarta.
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 oboe 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 Royal Trux to the disco kids.
I played it at the Roxy.
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 Lou Reed & John Cale. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Los Fastidios,
Liliput,
Andrew Ashong & Theo Parrish,
Darondo,
U.S. Maple,
Juan Atkins,
Boredoms,
Sound Behaviour,
The Busters,
The Move,
The Human League,
Tim Buckley,
June of 44,
The Martian,
The Knickerbockers,
Kings Of Tomorrow,
The United States of America,
Rhythm & Sound,
Scientists,
Ajijia Myrayebe,
Maleditus Sound,
the Normal,
Terry Callier,
Eric B and Rakim,
Stockholm Monsters,
CMW,
Gil Scott Heron,
the Swans,
Slave,
Mary Jane Girls,
Judy Mowatt,
The Real Kids,
Ultramagnetic MC's,
The Raincoats,
Thinking Fellers Union Local 282,
Saccharine Trust,
The Tremeloes,
ABBA,
Brass Construction,
Japan,
Ronnie Foster,
DJ Sneak,
Supertramp,
Q and Not U,
Rod Modell,
Archie Shepp,
Barbara Tucker,
The Durutti Column,
Ralphi Rosario,
Beasts of Bourbon,
Crash Course in Science,
Groovy Waters,
Arthur Verocai,
Josef K,
Scratch Acid,
The Walker Brothers,
Dual Sessions,
MC5,
Flash Fearless,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.