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 Benin and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1973.
I'm losing my edge.
To all the kids in Bremen and Paris.
I'm losing my edge to the art-school Bologna 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 Holger Czukay 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 Knickerbockers to the crunk kids.
I played it at CBGB's.
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 Jesper Dahlback. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
The Fire Engines,
London Community Gospel Choir,
Gil Scott-Heron and Jamie xx,
The Slits,
Funkadelic,
Television,
Nirvana,
The Neon Judgement,
Stiv Bators,
Subhumans,
The Misunderstood,
The Chocolate Watch Band,
Barclay James Harvest,
Aloha Tigers,
Rites of Spring,
Guru Guru,
Ohio Players,
Ash Ra Tempel,
Boz Scaggs,
Sam Rivers,
Ornette Coleman,
Girls At Our Best!,
Echo & the Bunnymen,
Smog,
Roxy Music,
Moss Icon,
Visionaries,LMNO, T- Love & Iriscience,
Amon Düül II,
Bauhaus,
Mr. Review,
Maleditus Sound,
Kas Product,
Brass Construction,
Warsaw,
Symarip,
Wolf Eyes,
Youth Brigade,
The Dave Clark Five,
The Cure,
Glambeats Corp.,
Hoover,
Clear Light,
Jerry's Kids,
Kevin Saunderson,
Massinfluence,
Crooked Eye,
Hashim,
Severed Heads,
Technova,
Reuben Wilson,
Soul II Soul,
Gang Gang Dance,
Man Parrish,
T.S.O.L.,
the Bar-Kays,
Notorious Big And Bone Thugs,
Rakim,
The Tremeloes,
This Heat,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.