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 Bangladesh and from Lagos.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Tehran and Lille.
I'm losing my edge to the art-school Cairo 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Bill Wells to the techno kids.
I played it at the Troubador.
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 Urselle. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Adolescents,
Panda Bear,
De La Soul & Jungle Brothers,
The Velvet Underground,
The Zeros,
Eddi Front,
Davy DMX,
Harpers Bizarre,
Symarip,
Ohio Players,
Nico,
Judy Mowatt,
Barbara Tucker,
Roy Ayers Ubiquity,
Monolake,
8 Eyed Spy,
Shuggie Otis,
Sixth Finger,
Warsaw,
Derrick May,
Sight & Sound,
Heaven 17,
Sound Behaviour,
Marc Romboy vs. Booka Shade,
The Busters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Blake Baxter,
Nik Kershaw,
The Remains,
Albert Ayler,
Deakin,
Stetsasonic,
Pulsallama,
Japan,
Organ,
Intrusion,
Basic Channel,
Kool G Rap & DJ Polo,
Ralphi Rosario,
Al Stewart,
Louis and Bebe Barron,
LL Cool J,
The Last Poets,
Sonny Sharrock,
The Five Americans,
OOIOO,
The West Coast Pop Art Experimental Band,
Blossom Toes,
Hot Snakes,
The Toasters,
Cymande,
Outsiders,
Make Up,
Rakim,
Rowland S Howard / Lydia Lunch,
Boredoms,
The Slits,
Ultimate Spinach,
Pet Shop Boys,
A Flock of Seagulls,
Stereo Dub,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.