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 Lebanon and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Bremen 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 clarinet 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 The Detroit Cobras to the jazz 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 Little Man. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Arthur Verocai,
Basic Channel,
Blancmange,
The Cowsills,
London Community Gospel Choir,
Judy Mowatt,
Magazine,
The Pop Group,
Sunsets and Hearts,
The Misunderstood,
The Peanut Butter Conspiracy,
June of 44,
Angry Samoans,
Joey Negro,
Thee Headcoats,
Kaleidoscope,
Camouflage,
Echospace,
Eric B and Rakim,
Saccharine Trust,
Sandy B,
The Mighty Diamonds,
New Order,
Susan Cadogan,
Gang Starr,
Soft Machine,
Alice Coltrane,
The Five Americans,
Joy Division,
Hardrive,
Ultra Naté,
Sexual Harrassment,
The Seeds,
Jesper Dahlback,
the Normal,
Pete Rock & C.L. Smooth,
The Motions,
A Certain Ratio,
Brothers Johnson,
Fugazi,
Scott Walker + Sunn O))),
The Fire Engines,
Terrestrial Tones,
Scientists,
Arcadia,
Fear,
The Star Department,
The Music Machine,
Kango’s Stein Massive,
The Moleskins,
Orchestral Manoeuvres in the Dark,
Black Flag,
Oppenheimer Analysis,
Gichy Dan,
Dorothy Ashby,
Zapp,
Dead Boys,
The Gladiators,
Anthony Braxton,
Outsiders,
Curtis Mayfield,
Michelle Simonal,
Parry Music, Parry Music, Parry Music, Parry Music.
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.