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 Somalia 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 1966 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
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 Chic practice in a loft in New York.
I was working on the 808 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 The Victims to the crunk 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 Crime. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal grunge 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 a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Sly & The Family Stone,
Big Daddy Kane,
Agent Orange,
Pharaoh Sanders and the Fire Engines,
Magma,
Blossom Toes,
Niagra,
Blancmange,
Don Cherry,
Super Lover Cee & Casanova Rud,
Animal Collective,
Black Moon,
Faraquet,
Echo & the Bunnymen,
Swell Maps,
The Fortunes,
Q and Not U,
Crooked Eye,
Unrelated Segments,
Urselle,
Gian Franco Pienzio,
Clear Light,
Fluxion,
Judy Mowatt,
Erasure,
Matthew Halsall,
Agitation Free,
Isaac Hayes,
Section 25,
Outsiders,
Grauzone,
Gary Puckett & The Union Gap,
The Toasters,
Cal Tjader,
Parry Music,
Arcadia,
London Community Gospel Choir,
Girls At Our Best!,
Angels of Light & Akron/Family,
Sandy B,
Lou Reed,
Sparks,
Scrapy,
Gastr Del Sol,
Siouxsie and the Banshees,
Nick Fraelich,
Laurel Aitken,
Smog,
The Barracudas,
World's Most,
Mr. Review,
The Human League,
Von Mondo,
The Motions,
Richard Hell and the Voidoids,
Cabaret Voltaire,
OOIOO,
John Coltrane,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.