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 Equatorial Guinea 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 1964 to 1975.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Mantronix to the techno 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 Babytalk. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Aaron Thompson 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Dave Clark Five,
Anthony Braxton,
Scratch Acid,
Rites of Spring,
Sarah Menescal,
Darondo,
Robert Görl,
Country Joe & The Fish,
Orchestral Manoeuvres in the Dark,
Cybotron,
Television Personalities,
London Community Gospel Choir,
Marine Girls,
Super Lover Cee & Casanova Rud,
T.S.O.L.,
Eric Dolphy,
Brick,
Marcia Griffiths,
The Techniques,
The Chocolate Watch Band,
Laurel Aitken,
Blancmange,
Suburban Knight,
Eddi Front,
The Trojans,
The Fuzztones,
Sällskapet,
Surgeon,
Piero Umiliani,
Junior Murvin,
Avey Tare & Kría Brekkan,
48th St. Collective,
Fluxion,
Lalo Schifrin,
Fela Kuti,
The Evens,
Model 500,
Can,
Minny Pops,
Joyce Sims,
Yusef Lateef,
Roxy Music,
Robert Wyatt,
Main Source,
Cecil Taylor,
June Days,
Rufus Thomas,
The Saints,
Dead Boys,
The Doors,
Mission of Burma,
Idris Muhammad,
Ornette Coleman,
Boz Scaggs,
Black Bananas,
Archie Shepp,
The Last Poets,
Fad Gadget,
Gary Puckett & The Union Gap,
Deakin,
The Tremeloes,
Supertramp,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.