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 Manchester.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Seoul and Jakarta.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 JFA to the crunk 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 Kool G Rap & DJ Polo. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Boredoms 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Thinking Fellers Union Local 282,
Peter Gordon & Love of Life Orchestra,
Lebanon Hanover,
The Count Five,
Mars,
Technova,
Tears for Fears,
David Axelrod,
Duran Duran,
AZ,
E-Dancer,
Dead Boys,
Sister Nancy,
Grandmaster Flash,
Jerry Gold Smith,
Country Teasers,
The Electric Prunes,
Arcadia,
Louis and Bebe Barron,
The Searchers,
Junior Murvin,
John Coltrane,
Johnny Clarke,
Rites of Spring,
Scrapy,
Rapeman,
Yellowson,
Trumans Water,
The Cowsills,
EPMD,
Nas,
the Fania All-Stars,
Matthew Halsall,
Harry Pussy,
Camouflage,
Television,
Byron Stingily,
The Blues Magoos,
Black Pus,
Bobby Womack,
Intrusion,
Ajijia Myrayebe,
The Black Dice,
Pharaoh Sanders and the Fire Engines,
Joey Negro,
Schoolly D,
Theoretical Girls,
Susan Cadogan,
Hardrive,
The Gap Band,
Maurizio,
Nik Kershaw,
Ponytail,
New York Dolls,
Inner City,
Andrew Ashong & Theo Parrish,
Scott Walker,
Aural Exciters,
Banda Bassotti,
Michelle Simonal,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.