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 Guinea-Bissau 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 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Johannesburg 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 Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Darondo to the rap kids.
I played it at Trash.
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 DNA. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Monolake 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Yaz,
Nas,
Animal Collective,
Johnny Osbourne,
John Cale,
Oppenheimer Analysis,
The Barracudas,
Trumans Water,
48th St. Collective,
Alison Limerick,
The Techniques,
Röyhkä ja Rättö ja Lehtisalo,
Grey Daturas,
Skaos,
De La Soul & Jungle Brothers,
Arab on Radar,
Marvin Gaye,
Funky Four + One,
The Index,
The Cure,
Howard Jones,
London Community Gospel Choir,
Q65,
Essential Logic,
Cluster,
Frankie Knuckles,
Robert Hood,
DJ Sneak,
James Chance & The Contortions,
Scratch Acid,
Interpol,
Mantronix,
Laurel Aitken,
Pharaoh Sanders and the Fire Engines,
Angry Samoans,
Simply Red,
The Royal Family And The Poor,
Erasure,
Moebius,
Thee Headcoats,
Newcleus,
The Moody Blues,
Bad Manners,
Sun City Girls,
Rosa Yemen,
The Victims,
Negative Approach,
Notorious BIG live in Amsterdam,
Radiopuhelimet,
Sight & Sound,
Man Eating Sloth,
Soft Machine,
Freddie Wadling,
Lonnie Liston Smith,
The Selecter,
Thinking Fellers Union Local 282,
Lou Reed,
Gabor Szabo,
Agitation Free,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.