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 Mozambique and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1971.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Tehran 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 808 sounds with much patience.
I was there when Lou Reed 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 Eric Dolphy to the grime kids.
I played it at the Troubador.
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 Vaughan Mason & Crew. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Faust 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Donny Hathaway,
U.S. Maple,
Minutemen,
Dennis Brown,
UT,
Nas,
Urselle,
Camron Feat. Memphis Bleek And Beenie Seigel,
Minnie Riperton,
Porter Ricks,
Manfred Mann's Earth Band,
Jawbox,
Andrew Ashong & Theo Parrish,
A Certain Ratio,
Blake Baxter,
JFA,
Mandrill,
The Evens,
Pagans,
Lalann,
Gil Scott Heron,
cv313,
The Divine Comedy,
the Normal,
Silicon Teens,
Sandy B,
Eric B and Rakim,
Don Cherry,
Desert Stars,
Gerry Rafferty,
Mad Mike,
DNA,
Circle Jerks,
Magma,
Barclay James Harvest,
The J.B.'s,
Royal Trux,
Eric Copeland,
Super Lover Cee & Casanova Rud,
Q65,
Kerri Chandler,
Jacques Brel,
Roxette,
Dual Sessions,
Wire,
Marc Romboy vs. Booka Shade,
The Dirtbombs,
Buzzcocks,
Yazoo,
Scott Walker,
The Smoke,
Bang on a Can All-Stars,
Kayak,
Alton Ellis,
MC5,
Mr. Review,
Al Stewart,
David Axelrod,
The Angels of Light,
New Age Steppers,
the Bar-Kays,
Marshall Jefferson,
The Stooges, The Stooges, The Stooges, The Stooges.
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.