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 Mozambique and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Lagos and Columbus.
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 clarinet 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 Arthur Verocai to the grime kids.
I played it at the Troubador.
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 Gabor Szabo. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Liaisons Dangereuses,
Scratch Acid,
Bootsy Collins,
The Searchers,
Lalann,
OOIOO,
Cecil Taylor,
Ultra Naté,
La Düsseldorf,
Black Bananas,
Soft Cell,
Dennis Brown,
Be Bop Deluxe,
The Moody Blues,
Rakim,
MDC,
Unrelated Segments,
Marmalade,
De La Soul & Jungle Brothers,
Art Ensemble Of Chicago,
L. Decosne,
Aswad,
Danielle Patucci,
Nils Olav,
Theoretical Girls,
Strawberry Alarm Clock,
New Age Steppers,
K-Klass,
The Tremeloes,
Donny Hathaway,
Young Marble Giants,
Tubeway Army,
the Swans,
Fluxion,
The Sound,
Alice Coltrane,
Los Fastidios,
Drexciya,
Laurel Aitken,
Rotary Connection,
Todd Terry,
Lou Christie,
Sun Ra Arkestra,
Hoover,
Grey Daturas,
Underground Resistance,
Gil Scott Heron,
The Vogues,
Jesper Dahlbäck,
X-102,
The Grass Roots,
Fifty Foot Hose,
Babytalk,
Sandy B,
Spoonie Gee,
Mandrill,
Brass Construction,
Bobby Byrd,
Bill Wells,
Loose Ends,
Lungfish, Lungfish, Lungfish, Lungfish.
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.