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 Algeria and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Sexual Harrassment to the disco kids.
I played it at the Troubador.
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 Lafayette Afro Rock Band. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Joe Smooth 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
DeepChord presents Echospace,
The West Coast Pop Art Experimental Band,
Electric Prunes,
Bad Manners,
Quando Quango,
The Tremeloes,
The Velvet Underground,
Faraquet,
Index,
Yazoo,
Crime,
Liliput,
Crash Course in Science,
Jandek,
Mark Hollis,
David Axelrod,
Buzzcocks,
E-Dancer,
Art Ensemble Of Chicago,
Cabaret Voltaire,
Byron Stingily,
Morten Harket,
X-Ray Spex,
Skarface,
Sparks,
Mars,
Moebius,
Lightning Bolt,
Deepchord,
Warren Ellis,
Ossler,
The Star Department,
Fugazi,
Radiohead,
Nick Fraelich,
Blake Baxter,
Cal Tjader,
Sixth Finger,
Sexual Harrassment,
Can,
Ohio Players,
Fort Wilson Riot,
Jawbox,
Marshall Jefferson,
Wolf Eyes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pete Rock & C.L. Smooth,
Erykah Badu,
Vainqueur,
Amon Düül II,
Sam Rivers,
Rapeman,
Gary Puckett & The Union Gap,
Stetsasonic,
Reuben Wilson,
Radio Birdman,
Theoretical Girls,
Dorothy Ashby,
48th St. Collective,
Roy Ayers,
The Modern Lovers,
Organ, Organ, Organ, Organ.
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.