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 South Sudan and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1975.
I'm losing my edge.
To all the kids in London and London.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Simply Red to the rock 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 Make Up. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Lalo Schifrin,
Black Bananas,
Ultravox,
Harmonia,
Heavy D & The Boyz,
Cameo,
The Leaves,
Skaos,
Unrelated Segments,
Alison Limerick,
Sixth Finger,
Kool Moe Dee,
Malaria!,
KRS-One,
Adolescents,
Guru Guru,
the Soft Cell,
Section 25,
Tres Demented,
David McCallum,
Crash Course in Science,
The Divine Comedy,
Niagra,
The Red Krayola,
World's Most,
Nick Cave & The Bad Seeds,
Visionaries,LMNO, T- Love & Iriscience,
Ash Ra Tempel,
FM Einheit,
Roy Ayers Ubiquity,
Nick Fraelich,
Al Stewart,
The Busters,
The Velvet Underground,
Rites of Spring,
Captain Beefheart & His Magic Band,
The Fire Engines,
China Crisis,
The Cosmic Jokers,
Tommy Roe,
Brick,
Basic Channel,
The Slits,
Jacques Brel,
Prince Buster,
Das Ding,
Scion,
MC5,
K-Klass,
Oppenheimer Analysis,
The Martian,
The Alarm Clocks,
Make Up,
Scott Walker,
Rowland S Howard / Lydia Lunch,
The Slackers,
Wally Richardson,
Angels of Light & Akron/Family,
Anthony Braxton,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.