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 Azerbaijan and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Portland 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Jeff Mills to the techno kids.
I played it at CBGB's.
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 Wasted Youth. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Camberwell Now,
Bang On A Can,
Grandmaster Flash,
Vainqueur,
Simply Red,
Stiv Bators,
X-102,
Susan Cadogan,
The Monks,
Flash Fearless,
L. Decosne,
Adolescents,
the Slits,
The Fall,
The United States of America,
the Association,
Eve St. Jones,
The Five Americans,
Gong,
Crooked Eye,
Andrew Hill,
Jacques Brel,
Sonic Youth,
Quantec,
Ajijia Myrayebe,
The Residents,
Second Layer,
Youth Brigade,
The Saints,
Alton Ellis,
The Blackbyrds,
Kevin Saunderson,
The Busters,
Underground Resistance,
Chris Corsano,
Rosa Yemen,
The Victims,
K-Klass,
Panda Bear,
Angry Samoans,
Half Japanese,
Gerry Rafferty,
Country Teasers,
Ken Boothe,
Carl Craig,
Crispy Ambulance,
The New Christs,
Hashim,
Oneida,
Art Ensemble Of Chicago,
DeepChord presents Echospace,
Joensuu 1685,
Sexual Harrassment,
Lou Reed,
Kings Of Tomorrow,
Jacob Miller,
Charles Mingus,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.