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 Guatemala and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Grey Daturas to the rap kids.
I played it at the Spitz.
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 Neu!. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Juan Atkins,
KRS-One,
John Foxx,
Main Source,
Gil Scott-Heron and Jamie xx,
Inner City,
Lalo Schifrin,
Pole,
Bluetip,
Carl Craig,
Bush Tetras,
Dorothy Ashby,
Rhythm & Sound,
Moby Grape,
Depeche Mode,
UT,
Godley & Creme,
Pylon,
The Techniques,
The Seeds,
Junior Murvin,
Jeru the Damaja,
Red Lorry Yellow Lorry,
Barrington Levy,
Jesper Dahlbäck,
Oppenheimer Analysis,
Andrew Ashong & Theo Parrish,
Graham Central Station,
Joey Negro,
Eric B and Rakim,
The Monochrome Set,
Zero Boys,
Joy Division,
Ronnie Foster,
The Cramps,
Gang Green,
This Heat,
Grandmaster Flash,
Kool G Rap & DJ Polo,
CMW,
Robert Görl,
Public Image Ltd.,
Gichy Dan,
Nation of Ulysses,
Johnny Osbourne,
Archie Shepp,
Big Daddy Kane,
Eddi Front,
Procol Harum,
Lou Reed & John Cale,
Tomorrow,
Reuben Wilson,
Minnie Riperton,
JFA,
Warsaw,
Scott Walker,
Mo-Dettes,
Hardrive,
Orchestral Manoeuvres in the Dark,
DeepChord presents Echospace,
Q65,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.