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 Venezuela and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Shanghai 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 synthesizer 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 Grandmaster Flash and the Furious Five to the grunge 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 Man Parrish. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your guitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Jacques Brel,
Siouxsie and the Banshees,
Slave,
Johnny Osbourne,
Eden Ahbez,
Liaisons Dangereuses,
Y Pants,
Selector Dub Narcotic,
Chris & Cosey,
Excepter,
Mad Mike,
The Leaves,
the Bar-Kays,
Brass Construction,
Yusef Lateef,
Arthur Verocai,
Lizzy Mercier Descloux,
The Cosmic Jokers,
Flipper,
Erasure,
Gong,
Theoretical Girls,
Bronski Beat,
Bad Manners,
Jeff Mills,
June Days,
The Royal Family And The Poor,
Simply Red,
Hashim,
Eddi Front,
The Buckinghams,
Skriet,
Dead Boys,
The Doors,
The Mighty Diamonds,
Niagra,
Laurel Aitken,
John Foxx,
Ajijia Myrayebe,
Gary Puckett & The Union Gap,
Ten City,
Minnie Riperton,
Bobbi Humphrey,
K-Klass,
Janne Schatter,
Kevin Saunderson,
The Sound,
The Gap Band,
Moebius,
Bobby Womack,
L. Decosne,
KRS-One,
Major Organ And The Adding Machine,
Adolescents,
Au Pairs,
Sarah Menescal,
Gichy Dan,
ABC,
Severed Heads,
Gil Scott-Heron and Jamie xx,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.