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 Ukraine and from Columbus.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
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 theremin 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 Grandmaster Flash to the rap kids.
I played it at Cafe Wha.
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 Mr. Review. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Rapeman record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Make Up,
Gil Scott Heron,
The Alarm Clocks,
Joyce Sims,
Bootsy Collins,
Barbara Tucker,
Barrington Levy,
The Music Machine,
Rhythm & Sound,
Index,
Blake Baxter,
Bobby Womack,
Delta 5,
The Human League,
Q and Not U,
Kenny Larkin,
Black Moon,
Skriet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Radiohead,
Grandmaster Flash and the Furious Five,
Das Ding,
Soulsonic Force,
Public Enemy,
Ten City,
Yazoo,
Mo-Dettes,
Infiniti,
Unrelated Segments,
Bobby Hutcherson,
Agitation Free,
Metal Thangz,
The Cramps,
Man Parrish,
Sad Lovers and Giants,
the Swans,
Bluetip,
New Age Steppers,
the Fania All-Stars,
The Dirtbombs,
Stiv Bators,
The Techniques,
Sly & The Family Stone,
The Buckinghams,
Avey Tare's Slasher Flicks,
Von Mondo,
Freddie Wadling,
The Moody Blues,
Sunsets and Hearts,
Gang Starr,
Pete Rock & C.L. Smooth,
Flipper,
Brick,
John Cale,
Drive Like Jehu,
The Raincoats,
Section 25,
Qualms,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.