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 Ethiopia and from Sao Paulo.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 The Leaves to the funk kids.
I played it at Trash.
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 Pierre Henry. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Deepchord,
Black Moon,
Ash Ra Tempel,
Wings,
Spandau Ballet,
Andrew Hill,
Country Teasers,
Quando Quango,
Brand Nubian,
Radiopuhelimet,
The Monochrome Set,
Roger Hodgson,
Bang On A Can,
Rakim,
Dennis Brown,
Notorious BIG live in Amsterdam,
Throbbing Gristle,
Siglo XX,
Dorothy Ashby,
The Trojans,
Von Mondo,
Selector Dub Narcotic,
Sugar Minott,
Visage,
Brass Construction,
Barry Ungar,
The Modern Lovers,
The Star Department,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lou Reed & John Cale,
Ossler,
the Sonics,
Pulsallama,
Sixth Finger,
Roy Ayers Ubiquity,
The Victims,
The Beau Brummels,
Liliput,
Can,
The Blackbyrds,
Moebius,
Subhumans,
K-Klass,
Minnie Riperton,
Fela Kuti,
Technova,
Toni Rubio,
Bang on a Can All-Stars,
Nick Cave & The Bad Seeds,
Curtis Mayfield,
Lindisfarne,
Gichy Dan,
MDC,
ABBA,
The Fuzztones,
The Zeros,
Flamin' Groovies,
KRS-One,
The Leaves,
Ornette Coleman,
Young Marble Giants,
The Seeds, The Seeds, The Seeds, The Seeds.
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.