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 Tuvalu and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 Brass Construction to the jazz kids.
I played it at the Astoria.
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 Royal Trux. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal grime 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 a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Suburban Knight,
Negative Approach,
Juan Atkins,
Rotary Connection,
Byron Stingily,
Pussy Galore,
Nation of Ulysses,
The Velvet Underground,
Kurtis Blow,
Mr. Review,
Camouflage,
Audionom,
Sam Rivers,
Matthew Bourne,
The Victims,
Zapp,
Tom Boy,
Marine Girls,
Eve St. Jones,
Bizarre Inc.,
Das Ding,
Kerri Chandler,
The Mummies,
Boz Scaggs,
The Sisters of Mercy,
Nas,
Dead Boys,
Graham Central Station,
Godley & Creme,
Brand Nubian,
Babytalk,
Robert Wyatt,
John Cale,
Ultra Naté,
Jeru the Damaja,
Wasted Youth,
Jerry's Kids,
Idris Muhammad,
Laurel Aitken,
Gil Scott-Heron & Brian Jackson,
Jesper Dahlbäck,
LL Cool J,
Lindisfarne,
Easy Going,
Pharoah Sanders,
The Gladiators,
Reagan Youth,
Sonny Sharrock,
K-Klass,
Wire,
Loose Ends,
The Smiths,
John Holt,
Jerry Gold Smith,
The Doors,
Traffic Nightmare,
Excepter,
Stiv Bators,
Whodini,
Lou Reed & Metallica,
Brass Construction,
Skarface, Skarface, Skarface, Skarface.
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.