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 the UAE and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Robert Palmer 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 Dorothy Ashby to the crunk 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 Judy Mowatt. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Marshall Jefferson,
Althea and Donna,
Quando Quango,
Kevin Saunderson,
Ultimate Spinach,
Can,
Essential Logic,
Sly & The Family Stone,
Wally Richardson,
Organ,
Toni Rubio,
D'Angelo,
Davy DMX,
Rufus Thomas,
Shoche,
The Count Five,
Sam Rivers,
Bill Near,
Radiopuhelimet,
Orchestral Manoeuvres in the Dark,
Brick,
Crooked Eye,
Oblivians,
Eric B and Rakim,
Dave Gahan,
Suburban Knight,
Groovy Waters,
John Holt,
Lower 48,
Flash Fearless,
Main Source,
Stockholm Monsters,
Aloha Tigers,
Kango’s Stein Massive,
Yusef Lateef,
Public Enemy,
Babytalk,
Bobby Hutcherson,
Scientists,
Unwound,
Eric Copeland,
China Crisis,
Metal Thangz,
Thompson Twins,
Yazoo,
Jeff Lynne,
Kings Of Tomorrow,
Glenn Branca,
New York Dolls,
Bluetip,
Whodini,
Underground Resistance,
X-Ray Spex,
the Fania All-Stars,
Jeru the Damaja,
Rhythm & Sound,
Super Lover Cee & Casanova Rud,
Drive Like Jehu,
Curtis Mayfield,
Swell Maps,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.