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 Vietnam and from Johannesburg.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Bologna 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 James Chance & The Contortions to the grunge kids.
I played it at the 40 Watt.
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 Chris & Cosey. All the underground hits.
All Index tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Connie Case,
Ken Boothe,
Wighnomy Brothers & Robag Wruhme,
Tears for Fears,
Barrington Levy,
Eric B and Rakim,
Andrew Ashong & Theo Parrish,
Richard Hell and the Voidoids,
Flash Fearless,
Trumans Water,
Audionom,
Sandy B,
Eric Dolphy,
Toni Rubio,
Dawn Penn,
Glambeats Corp.,
Lalann,
Graham Central Station,
Crooked Eye,
Eli Mardock,
Kings Of Tomorrow,
Newcleus,
John Lydon,
Ultramagnetic MC's,
Juan Atkins,
Scratch Acid,
Echo & the Bunnymen,
The Motions,
Joe Finger,
Skriet,
ABC,
Carl Craig,
Rekid,
the Normal,
The Jesus and Mary Chain,
Bill Wells,
FM Einheit,
Stockholm Monsters,
Masters at Work,
Stiv Bators,
Amon Düül II,
Funkadelic,
Arthur Verocai,
The Residents,
Marshall Jefferson,
Index,
Tropical Tobacco,
Pierre Henry,
Super Lover Cee & Casanova Rud,
Mad Mike,
Eyeless In Gaza,
The Monochrome Set,
Donny Hathaway,
Make Up,
Sun City Girls,
Alton Ellis,
Crispy Ambulance,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.