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 Syria and from Sao Paulo.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Seoul 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 rhodes 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 Chrome to the grime kids.
I played it at the Astoria.
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 Half Japanese. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Metal Thangz,
Bauhaus,
Blossom Toes,
UT,
The Associates,
Jeru the Damaja,
Agent Orange,
Scan 7,
Country Joe & The Fish,
The Fugs,
Youth Brigade,
Sly & The Family Stone,
The Detroit Cobras,
DNA,
Kaleidoscope,
Aloha Tigers,
Beasts of Bourbon,
Cluster,
Susan Cadogan,
cv313,
Pussy Galore,
Kango’s Stein Massive,
Barclay James Harvest,
Be Bop Deluxe,
Rhythim Is Rhythim,
D'Angelo,
The Remains,
Kerrie Biddell,
Fifty Foot Hose,
Donald Byrd,
Colin Newman,
Y Pants,
Ornette Coleman,
Groovy Waters,
Bootsy Collins,
Barbara Tucker,
The Dave Clark Five,
Todd Terry,
The Victims,
Sun City Girls,
Avey Tare & Kría Brekkan,
Glambeats Corp.,
Chris Corsano,
Essential Logic,
Mantronix,
Idris Muhammad,
DeepChord presents Echospace,
Make Up,
the Bar-Kays,
Toni Rubio,
The Walker Brothers,
Arab on Radar,
Rod Modell,
Sad Lovers and Giants,
Ronnie Foster,
Kenny Larkin,
ABBA,
JFA,
Zero Boys,
Godley & Creme,
Ten City, Ten City, Ten City, Ten City.
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.