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 Kosovo and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Halifax.
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 organ 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 Masters at Work to the jazz kids.
I played it at the 40 Watt.
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 Camberwell Now. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Barrington Levy 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Dr. Dre and Snoop Doggy Dog,
Al Stewart,
Ituana,
Drive Like Jehu,
Be Bop Deluxe,
Delon & Dalcan,
Radiohead,
Judy Mowatt,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sun Ra,
Swell Maps,
Joey Negro,
Maleditus Sound,
Swans,
Ronnie Foster,
the Sonics,
Crime,
Matthew Bourne,
The Mighty Diamonds,
Gabor Szabo,
Crispy Ambulance,
Joyce Sims,
B.T. Express,
Nirvana,
Stereo Dub,
Das Ding,
Eric Copeland,
Eyeless In Gaza,
Brick,
John Holt,
Royal Trux,
Buzzcocks,
Cameo,
Rapeman,
Larry & the Blue Notes,
Teenage Jesus and the Jerks,
Bootsy Collins,
Moss Icon,
Television,
Rufus Thomas,
Marc Romboy vs. Booka Shade,
Susan Cadogan,
Section 25,
Rod Modell,
Juan Atkins,
T.S.O.L.,
Barry Ungar,
The Count Five,
Orchestral Manoeuvres in the Dark,
The Flesh Eaters,
Junior Murvin,
Masters at Work,
Tres Demented,
The Detroit Cobras,
Sonic Youth,
Soul II Soul,
These Immortal Souls,
Kenny Larkin,
The Walker Brothers,
Funkadelic,
Curtis Mayfield,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.