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 Philippines and from London.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Manchester 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Henry Cow to the funk kids.
I played it at the Troubador.
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 Whodini. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Morten Harket,
Chris & Cosey,
Fela Kuti,
Funkadelic,
Siouxsie and the Banshees,
Pole,
Eurythmics,
Oneida,
Visage,
R.M.O.,
Easy Going,
Gregory Isaacs,
Neil Young & Crazy Horse,
Warren Ellis,
Kaleidoscope,
Bobby Womack,
Stereo Dub,
Clear Light,
Sly & The Family Stone,
Moebius,
D'Angelo,
Fort Wilson Riot,
Bill Wells,
Minutemen,
Brothers Johnson,
Radiohead,
The Moleskins,
Jacques Brel,
Metal Thangz,
Rufus Thomas,
Graham Central Station,
Technova,
Schoolly D,
The Fugs,
Leonard Cohen,
Gang Gang Dance,
Ultra Naté,
Thinking Fellers Union Local 282,
Y Pants,
John Coltrane,
Silicon Teens,
the Normal,
Frankie Knuckles,
Section 25,
Roy Ayers,
Intrusion,
The Smoke,
Fat Boys,
Susan Cadogan,
Sight & Sound,
Art Ensemble Of Chicago,
Cameo,
Cal Tjader,
Thee Headcoats,
Oblivians,
Skarface,
Sugar Minott,
Michelle Simonal,
Notorious Big And Bone Thugs,
New Age Steppers,
Eyeless In Gaza,
Jacob Miller,
Symarip, Symarip, Symarip, Symarip.
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.