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 Bosnia Herzegovina and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Portland 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 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 Aswad to the grime kids.
I played it at Cafe Wha.
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 Black Bananas. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Ralphi Rosario 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 '50s cut and another box set from the '90s.
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 Eyeless In Gaza record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Laurel Aitken,
Easy Going,
Model 500,
Erykah Badu,
Cecil Taylor,
Chrome,
Skriet,
Goldenarms,
John Holt,
Bobby Sherman,
Robert Wyatt,
In Retrospect,
Pantytec,
Joe Finger,
Colin Newman,
The Electric Prunes,
T.S.O.L.,
Flash Fearless,
Tommy Roe,
Derrick May,
Sonny Sharrock,
Cal Tjader,
Scratch Acid,
Aaron Thompson,
Gil Scott-Heron & Brian Jackson,
Sam Rivers,
Kango’s Stein Massive,
Grauzone,
Stereo Dub,
Spandau Ballet,
Magazine,
Rowland S Howard / Lydia Lunch,
Deakin,
Fela Kuti,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Men They Couldn't Hang,
Soft Cell,
Man Parrish,
Mary Jane Girls,
Sex Pistols,
Boredoms,
B.T. Express,
Con Funk Shun,
The Buckinghams,
Idris Muhammad,
The Sisters of Mercy,
Negative Approach,
The Fuzztones,
Camberwell Now,
Roy Ayers,
Wire,
the Fania All-Stars,
Aloha Tigers,
James Chance & The Contortions,
Terrestrial Tones,
Radio Birdman,
Deutsch Amerikanische Freundschaft,
The Monks,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.