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 Macedonia and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1974.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Popol Vuh to the funk kids.
I played it at Trash.
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 Gary Puckett & The Union Gap. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Rhythm & Sound,
Can,
Nas,
Wire,
Kurtis Blow,
The Grass Roots,
June Days,
Roxy Music,
Ponytail,
Alton Ellis,
Quantec,
Country Joe & The Fish,
Rekid,
Joe Smooth,
Terrestrial Tones,
Notorious BIG live in Amsterdam,
Terry Callier,
Oppenheimer Analysis,
The Moody Blues,
The Pretty Things,
Super Lover Cee & Casanova Rud,
Soft Machine,
Godley & Creme,
Dorothy Ashby,
Steve Hackett,
Mission of Burma,
Gabor Szabo,
Pierre Henry,
Joe Finger,
The Shadows of Knight,
The Cure,
Josef K,
Bush Tetras,
Lonnie Liston Smith,
U.S. Maple,
The Pop Group,
Symarip,
Monks,
the Association,
Scientists,
Gian Franco Pienzio,
Ludus,
Zero Boys,
Yaz,
Brand Nubian,
The Five Americans,
The Cosmic Jokers,
Marine Girls,
Black Bananas,
The Offenders,
Darondo,
Larry & the Blue Notes,
Arthur Verocai,
Bizarre Inc.,
The Motions,
OOIOO,
Sexual Harrassment,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
MDC,
John Lydon,
Babytalk,
Kerri Chandler,
Gil Scott-Heron and Jamie xx,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.