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 Colombia and from Madrid.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Mumbai 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 The Motions to the grime kids.
I played it at the Crocodile.
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 Tomorrow. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Cal Tjader 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Alison Limerick,
Thee Headcoats,
The Barracudas,
Arcadia,
Louis and Bebe Barron,
Man Parrish,
Lyres,
This Heat,
Scott Walker,
Accadde A,
Pantaleimon,
Ronnie Foster,
Stiv Bators,
Sonny Sharrock,
Model 500,
The Kinks,
Drexciya,
Bluetip,
Althea and Donna,
Ossler,
Inner City,
Scan 7,
Slick Rick,
Ash Ra Tempel,
Aswad,
Soul Sonic Force,
Jimmy McGriff,
Q65,
Arthur Verocai,
the Human League,
Patti Smith,
Half Japanese,
Simply Red,
Khruangbin,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Stooges,
The Durutti Column,
Grauzone,
Avey Tare,
Charles Mingus,
Eric B and Rakim,
Notorious BIG live in Amsterdam,
Gil Scott-Heron & Brian Jackson,
Sam Rivers,
Bill Near,
KRS-One,
Junior Murvin,
A Flock of Seagulls,
Roy Ayers Ubiquity,
Derrick Morgan,
Erykah Badu,
Nik Kershaw,
Gang of Four,
The Mojo Men,
Tropical Tobacco,
48th St. Collective,
The Music Machine,
Fifty Foot Hose,
Smog,
Orchestral Manoeuvres in the Dark,
John Holt, John Holt, John Holt, John Holt.
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.