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 Kyrgyzstan and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Masters at Work to the punk kids.
I played it at the Roxy.
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 Sexual Harrassment. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Sugar Minott 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your güiro and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
Man Eating Sloth,
a-ha,
Pharaoh Sanders and the Fire Engines,
Cybotron,
Dennis Brown,
The Misunderstood,
Nas,
The United States of America,
Reagan Youth,
Lou Christie,
The Mojo Men,
The J.B.'s,
Fifty Foot Hose,
Wasted Youth,
Hoover,
Boogie Down Productions,
The Seeds,
Animal Collective,
Danielle Patucci,
Jesper Dahlback,
Popol Vuh,
The Music Machine,
Shoche,
Little Man,
Jeru the Damaja,
Dawn Penn,
Goldenarms,
Patti Smith,
the Bar-Kays,
Byron Stingily,
Urselle,
Gang Green,
L. Decosne,
Sound Behaviour,
Marvin Gaye,
Art Ensemble Of Chicago,
Kool G Rap & DJ Polo,
Basic Channel,
Cal Tjader,
The Leaves,
The Slackers,
Oppenheimer Analysis,
Letta Mbulu,
Minor Threat,
Das Ding,
Monolake,
The Sound,
Godley & Creme,
The Young Rascals,
Sparks,
Nico,
Altered Images,
James Chance & The Contortions,
Mad Mike,
Ralphi Rosario,
Lee Hazlewood,
Con Funk Shun,
Fear,
Khruangbin,
Grandmaster Flash and the Furious Five,
The Raincoats,
Mary Jane Girls,
Lebanon Hanover,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.