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 Burkina and from New York.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school London 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 oboe 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 Soul Sonic Force to the grime kids.
I played it at the Roxy.
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 Pantytec. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Flamin' Groovies,
Kings Of Tomorrow,
Harmonia,
Ajijia Myrayebe,
Chris & Cosey,
Bang On A Can,
Aswad,
The Mighty Diamonds,
Underground Resistance,
Ultravox,
Flash Fearless,
Brick,
Grey Daturas,
Quando Quango,
Cheater Slicks,
Sällskapet,
Kool G Rap & DJ Polo,
China Crisis,
The Grass Roots,
Jimmy McGriff,
L. Decosne,
Blossom Toes,
Crooked Eye,
Zero Boys,
Marcia Griffiths,
Tim Buckley,
Grandmaster Flash and the Furious Five,
Minutemen,
Man Parrish,
Wally Richardson,
Warren Ellis,
Barry Ungar,
UT,
The Offenders,
Eli Mardock,
Rod Modell,
The Litter,
The United States of America,
Qualms,
The Gories,
Soul II Soul,
The Music Machine,
Brothers Johnson,
Kango’s Stein Massive,
Louis and Bebe Barron,
FM Einheit,
The Velvet Underground,
Ornette Coleman,
Mad Mike,
Carl Craig,
Roy Ayers Ubiquity,
Agitation Free,
Roxy Music,
Erasure,
Main Source,
Eric B and Rakim,
Pere Ubu,
Sparks,
Sarah Menescal,
Lee Hazlewood,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.