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 Monaco and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Bologna 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 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 Eyeless In Gaza to the funk 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 John Cale. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Lafayette Afro Rock Band 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Godley & Creme,
Eurythmics,
The New Christs,
Cabaret Voltaire,
Pere Ubu,
Echo & the Bunnymen,
The Cosmic Jokers,
Kerrie Biddell,
The Kinks,
London Community Gospel Choir,
Funkadelic,
Grandmaster Flash and the Furious Five,
Roy Ayers Ubiquity,
EPMD,
Hasil Adkins,
Loose Ends,
The Associates,
Lebanon Hanover,
The Names,
Marvin Gaye,
Eric Dolphy,
Cybotron,
Josef K,
Delon & Dalcan,
Girls At Our Best!,
The Moleskins,
Tim Buckley,
JFA,
John Lydon,
PIL,
Lonnie Liston Smith,
Crash Course in Science,
T. Rex,
The Doobie Brothers,
Eden Ahbez,
Moss Icon,
L. Decosne,
The Sonics,
Dead Boys,
Jimmy McGriff,
Talk Talk,
The Music Machine,
Siglo XX,
UT,
Tropical Tobacco,
Soul Sonic Force,
Camron Feat. Jay Z And Juelz,
Rites of Spring,
Ultra Naté,
Derrick May,
Ultramagnetic MC's,
Marshall Jefferson,
Lakeside,
Lower 48,
The Jesus and Mary Chain,
Nico,
Vladislav Delay,
Selector Dub Narcotic,
Jeff Mills,
Charles Mingus,
Neil Young,
Yusef Lateef,
Bobby Hutcherson,
The Techniques, The Techniques, The Techniques, The Techniques.
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.