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 Mauritius and from Manila.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Shanghai 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 Donald Fagen 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 Outsiders 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 Grandmaster Flash and the Furious Five. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Connie Case 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 '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Q and Not U,
Bobby Sherman,
Grey Daturas,
Ultra Naté,
Spandau Ballet,
Robert Hood,
Avey Tare & Kría Brekkan,
Lower 48,
Cecil Taylor,
The Invisible,
Public Enemy,
Tears for Fears,
Ice-T,
Arab on Radar,
Andrew Ashong & Theo Parrish,
The Monochrome Set,
CMW,
Lalann,
Tres Demented,
Wighnomy Brothers & Robag Wruhme,
Bill Wells,
The Last Poets,
Boogie Down Productions,
Gastr Del Sol,
Subhumans,
Tubeway Army,
Matthew Bourne,
Archie Shepp,
Lonnie Liston Smith,
Mars,
Ultramagnetic MC's,
Terrestrial Tones,
Wire,
Amon Düül II,
Silicon Teens,
Can,
Morten Harket,
The Zeros,
Blake Baxter,
Rod Modell,
Joyce Sims,
Sarah Menescal,
Sun City Girls,
Surgeon,
The Beau Brummels,
Oblivians,
Camberwell Now,
Henry Cow,
Sam Rivers,
Dark Day,
Mary Jane Girls,
Letta Mbulu,
Delon & Dalcan,
Gil Scott-Heron & Brian Jackson,
The Flesh Eaters,
Judy Mowatt,
Radiohead,
John Holt,
Todd Terry,
The Music Machine,
The Standells, The Standells, The Standells, The Standells.
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.