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 Djibouti and from Tokyo.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Columbus and Calgary.
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 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 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 Vaughan Mason & Crew to the grime kids.
I played it at the Spitz.
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 The Monks. All the underground hits.
All CMW tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Cecil Taylor,
the Sonics,
Hot Snakes,
Glenn Branca,
Neil Young & Crazy Horse,
Eric Dolphy,
Essential Logic,
Desert Stars,
Section 25,
Byron Stingily,
Alphaville,
Rekid,
Kayak,
Pantytec,
Terrestrial Tones,
The Saints,
Roger Hodgson,
Bootsy's Rubber Band,
Sticky Fingaz feat. Raekwon,
The Zeros,
Harpers Bizarre,
Goldenarms,
Wally Richardson,
Fear,
Marc Almond,
The Monochrome Set,
Nation of Ulysses,
X-101,
Harry Pussy,
Jeru the Damaja,
Juan Atkins,
Flamin' Groovies,
Aural Exciters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oneida,
Angels of Light & Akron/Family,
Notorious BIG live in Amsterdam,
Nik Kershaw,
The Selecter,
Grandmaster Flash,
The Slits,
The American Breed,
Dual Sessions,
H. Thieme,
the Fania All-Stars,
Ponytail,
Intrusion,
Accadde A,
Lakeside,
Rapeman,
Animal Collective,
John Foxx,
Eddi Front,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
B.T. Express,
Smog,
LL Cool J,
Echo & the Bunnymen,
The Cure,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.