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 Azerbaijan and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Beijing and New York.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Sly & The Family Stone to the jazz 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 Monks. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
kango's stein massive,
Simply Red,
Fort Wilson Riot,
The Move,
H. Thieme,
Glambeats Corp.,
Unrelated Segments,
Goldenarms,
The Techniques,
The Cosmic Jokers,
Malaria!,
The Mighty Diamonds,
Lindisfarne,
Index,
T. Rex,
Letta Mbulu,
Rufus Thomas,
The Mummies,
The Men They Couldn't Hang,
Lakeside,
These Immortal Souls,
Sonic Youth,
Soft Machine,
Rekid,
Maurizio,
Gichy Dan,
Scrapy,
Flipper,
The Busters,
The Toasters,
Gabor Szabo,
Sight & Sound,
Liaisons Dangereuses,
Funkadelic,
Ultramagnetic MC's,
Idris Muhammad,
Magma,
Main Source,
Procol Harum,
Guru Guru,
Theoretical Girls,
The Stooges,
Flash Fearless,
Radio Birdman,
The Last Poets,
Dawn Penn,
Gregory Isaacs,
Grandmaster Flash,
Sister Nancy,
Pharaoh Sanders and the Fire Engines,
Urselle,
Infiniti,
Arcadia,
Strawberry Alarm Clock,
Los Fastidios,
The Remains,
Louis and Bebe Barron,
Accadde A, Accadde A, Accadde A, Accadde A.
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.