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 Azerbaijan and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Mumbai 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 Lou Reed 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 Rapeman to the funk kids.
I played it at CBGB's.
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 Minnie Riperton. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal techno 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 a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
LL Cool J,
Andrew Hill,
Q and Not U,
the Germs,
The Star Department,
X-Ray Spex,
Prince Buster,
Dark Day,
James White and The Blacks,
Section 25,
The West Coast Pop Art Experimental Band,
The Dave Clark Five,
Jeff Mills,
Khruangbin,
Gil Scott-Heron and Jamie xx,
Rhythim Is Rhythim,
Tears for Fears,
Ash Ra Tempel,
Throbbing Gristle,
Todd Terry,
Darondo,
Kurtis Blow,
Marc Romboy vs. Booka Shade,
Bobby Sherman,
Sly & The Family Stone,
The Men They Couldn't Hang,
Lou Reed & Metallica,
Dennis Brown,
John Cale,
The Red Krayola,
Talk Talk,
Ornette Coleman,
DJ Style,
T. Rex,
Ronnie Foster,
Rapeman,
Sunsets and Hearts,
The Associates,
Kool G Rap & DJ Polo,
Cymande,
Animal Collective,
Outsiders,
Avey Tare & Kría Brekkan,
Ken Boothe,
Heaven 17,
Max Romeo,
The Trojans,
Derrick Morgan,
The Saints,
The Pretty Things,
The Slits,
The Doors,
David Bowie,
Magma,
Selector Dub Narcotic,
Unwound,
The Five Americans,
Peter & Gordon,
Ultravox,
The Standells,
Donald Byrd,
The Gladiators,
Juan Atkins,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.