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 Togo and from Toronto.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Hong Kong 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Curtis Mayfield to the punk 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 Tears for Fears. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal grime 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 a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Electric Light Orchestra,
Rahsaan Roland Kirk,
Flash Fearless,
Kurtis Blow,
Ronan,
Delon & Dalcan,
Boogie Down Productions,
The Fire Engines,
Newcleus,
L. Decosne,
Iggy Pop,
Janne Schatter,
The Men They Couldn't Hang,
Man Eating Sloth,
The Moleskins,
Warsaw,
Bill Wells,
Bob Dylan,
Grauzone,
Scratch Acid,
Kenny Larkin,
the Germs,
Jeru the Damaja,
The Angels of Light,
It's A Beautiful Day,
Stockholm Monsters,
Robert Wyatt,
Cluster,
The Gap Band,
The Stooges,
Liaisons Dangereuses,
The Gories,
Freddie Wadling,
Sly & The Family Stone,
The Motions,
Boredoms,
Boz Scaggs,
The Smiths,
Swell Maps,
Monks,
Rites of Spring,
Babytalk,
Masters at Work,
Harpers Bizarre,
The Dirtbombs,
EPMD,
Little Man,
Bluetip,
Black Flag,
Severed Heads,
The Saints,
Alton Ellis,
Lalann,
Spandau Ballet,
Dual Sessions,
Au Pairs,
Roxy Music,
Echospace,
Traffic Nightmare,
The Jesus and Mary Chain,
Interpol, Interpol, Interpol, Interpol.
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.