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 Ecuador and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Sao Paulo 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 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 Harry Pussy to the rap kids.
I played it at the Astoria.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal funk 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Barrington Levy,
Marshall Jefferson,
Anakelly,
Camberwell Now,
Tubeway Army,
Reuben Wilson,
Jawbox,
UT,
Gary Puckett & The Union Gap,
The Star Department,
The Flesh Eaters,
Theoretical Girls,
Peter Gordon & Love of Life Orchestra,
cv313,
Joy Division,
Al Stewart,
Simply Red,
Gil Scott-Heron and Jamie xx,
Sun City Girls,
The J.B.'s,
Sound Behaviour,
Model 500,
Stetsasonic,
The Royal Family And The Poor,
Hot Snakes,
Yusef Lateef,
Alton Ellis,
Boogie Down Productions,
Rakim,
Scratch Acid,
T. Rex,
The Litter,
June Days,
Rapeman,
Kenny Larkin,
Vainqueur,
Curtis Mayfield,
Scott Walker + Sunn O))),
Nik Kershaw,
The Residents,
The Stooges,
Lungfish,
Siglo XX,
Funkadelic,
Ohio Players,
Alison Limerick,
Avey Tare & Kría Brekkan,
Warsaw,
Marvin Gaye,
The Gories,
The Martian,
Grandmaster Flash,
Amon Düül,
the Association,
Dual Sessions,
Rosa Yemen,
Fad Gadget,
Trumans Water,
Donald Byrd,
Ronnie Foster,
Slave,
Fear,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.