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 Sweden and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lagos and Lagos.
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 chamberlin 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 Marvin Gaye to the crunk kids.
I played it at the Hacienda.
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 Kaleidoscope. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance 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?
The Tremeloes,
The Last Poets,
David McCallum,
Massinfluence,
The Names,
Arab on Radar,
K-Klass,
Todd Terry,
Camouflage,
The Mighty Diamonds,
Brand Nubian,
Nick Fraelich,
Matthew Halsall,
Los Fastidios,
the Association,
Theoretical Girls,
Marc Almond,
Thompson Twins,
Royal Trux,
The Fuzztones,
Guru Guru,
Flamin' Groovies,
John Coltrane,
Model 500,
Mandrill,
Dark Day,
The Blackbyrds,
Dr. Dre and Snoop Doggy Dog,
Television Personalities,
The Red Krayola,
Clear Light,
The Barracudas,
Depeche Mode,
Throbbing Gristle,
Drexciya,
The Dirtbombs,
The Detroit Cobras,
Tropical Tobacco,
Roy Ayers,
R.M.O.,
Jesper Dahlback,
Unrelated Segments,
Graham Central Station,
Das Ding,
Peter and Kerry,
Slick Rick,
Sixth Finger,
Crime,
Whodini,
Scientists,
Glenn Branca,
Robert Wyatt,
Kerri Chandler,
The Searchers,
Vaughan Mason & Crew,
Inner City,
Lafayette Afro Rock Band,
Basic Channel,
Wally Richardson,
Monolake,
Bill Wells,
Yusef Lateef,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.