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 Micronesia and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1967 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Johannesburg 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 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 Grandmaster Flash and the Furious Five to the crunk kids.
I played it at Trash.
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 La Düsseldorf tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Sandy B,
Nation of Ulysses,
Yellowson,
Andrew Hill,
The Durutti Column,
Nils Olav,
Peter & Gordon,
Erasure,
Thompson Twins,
The Mummies,
Clear Light,
Rhythm & Sound,
Fugazi,
Rod Modell,
Sad Lovers and Giants,
A Flock of Seagulls,
This Heat,
Camouflage,
Half Japanese,
Crispian St. Peters,
Spandau Ballet,
Gary Puckett & The Union Gap,
T. Rex,
Tommy Roe,
Frankie Knuckles,
Joy Division,
the Normal,
The Monochrome Set,
Bootsy's Rubber Band,
Rites of Spring,
Crash Course in Science,
The Beau Brummels,
Black Sheep,
The Peanut Butter Conspiracy,
The Neon Judgement,
Bob Dylan,
the Germs,
Stereo Dub,
the Human League,
Kas Product,
The Music Machine,
Heaven 17,
Fluxion,
Kool G Rap & DJ Polo,
Judy Mowatt,
Gong,
Juan Atkins,
Ultra Naté,
Marshall Jefferson,
Hasil Adkins,
Andrew Ashong & Theo Parrish,
Easy Going,
Mad Mike,
Television Personalities,
Morten Harket,
Thinking Fellers Union Local 282,
Lee Hazlewood,
Donald Byrd,
The Blackbyrds,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.