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 Cape Verde and from Accra.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Deutsch Amerikanische Freundschaft to the grime 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 Scrapy. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal techno 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 a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Sarah Menescal,
Harpers Bizarre,
Nirvana,
Larry & the Blue Notes,
the Fania All-Stars,
Niagra,
Easy Going,
LL Cool J,
48th St. Collective,
EPMD,
The Beau Brummels,
Roxette,
Section 25,
Kevin Saunderson,
The Gories,
Alice Coltrane,
The Music Machine,
Derrick Morgan,
Mission of Burma,
John Lydon,
The Slits,
Angels of Light & Akron/Family,
Nico,
the Bar-Kays,
Marvin Gaye,
Max Romeo,
Funky Four + One,
Procol Harum,
Kerrie Biddell,
Public Image Ltd.,
Organ,
Notorious Big And Bone Thugs,
Minor Threat,
The Zeros,
Morten Harket,
The J.B.'s,
Audionom,
Newcleus,
Rhythm & Sound,
Deadbeat,
Anthony Braxton,
Faust,
Tim Buckley,
Lafayette Afro Rock Band,
Pharoah Sanders,
Strawberry Alarm Clock,
Visionaries,LMNO, T- Love & Iriscience,
Alphaville,
World's Most,
Peter & Gordon,
Lindisfarne,
Saccharine Trust,
Interpol,
Rosa Yemen,
Brass Construction,
Deakin,
A Certain Ratio,
Scrapy,
the Slits,
The Fortunes,
Hardrive,
DJ Sneak,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.