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 Senegal and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television 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 1970.
I'm losing my edge.
To all the kids in Tehran and Lille.
I'm losing my edge to the art-school Glasgow 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 snare sounds with much patience.
I was there when Michael McDonald 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 Art Ensemble Of Chicago to the crunk kids.
I played it at the Hacienda.
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 Lou Reed. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Yusef Lateef,
Henry Cow,
Albert Ayler,
New York Dolls,
Symarip,
Japan,
Man Eating Sloth,
Surgeon,
Circle Jerks,
Orchestral Manoeuvres in the Dark,
The Mummies,
Sex Pistols,
Quando Quango,
Lindisfarne,
Flipper,
Darondo,
Drive Like Jehu,
Gary Puckett & The Union Gap,
Accadde A,
Das Ding,
Slave,
Dead Boys,
The Martian,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jacques Brel,
The Slackers,
Nico,
Robert Görl,
Tears for Fears,
Pagans,
Kas Product,
Radiopuhelimet,
Young Marble Giants,
Lonnie Liston Smith,
The Detroit Cobras,
Au Pairs,
Jeru the Damaja,
Pharoah Sanders,
Alton Ellis,
Susan Cadogan,
the Fania All-Stars,
Rufus Thomas,
Donald Byrd,
Althea and Donna,
JFA,
Junior Murvin,
The Pretty Things,
Urselle,
Country Joe & The Fish,
Brick,
Radio Birdman,
The Dirtbombs,
The Gories,
Gong,
Rites of Spring,
Robert Wyatt,
Peter and Kerry,
Warsaw,
Ohio Players,
The Alarm Clocks,
Strawberry Alarm Clock,
AZ,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.