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 Cambodia and from Lagos.
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 1969 to 1972.
I'm losing my edge.
To all the kids in London and Paris.
I'm losing my edge to the art-school Manchester 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 David Bowie 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 Curtis Mayfield to the grime kids.
I played it at the Troubador.
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 UT. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Dead Boys,
Saccharine Trust,
Sister Nancy,
Eyeless In Gaza,
Television,
Wire,
Khruangbin,
The Offenders,
The Neon Judgement,
The Alarm Clocks,
Alton Ellis,
Black Bananas,
Mars,
Selector Dub Narcotic,
Minnie Riperton,
World's Most,
The Standells,
Sun Ra Arkestra,
Kango’s Stein Massive,
Oneida,
Freddie Wadling,
Livin' Joy,
Amon Düül II,
the Bar-Kays,
Matthew Halsall,
Monks,
Dark Day,
Röyhkä ja Rättö ja Lehtisalo,
Malaria!,
Lee Hazlewood,
A Certain Ratio,
Slick Rick,
Gary Puckett & The Union Gap,
Rahsaan Roland Kirk,
X-102,
The Divine Comedy,
PIL,
Mary Jane Girls,
Sun City Girls,
Kool Moe Dee,
The Mojo Men,
Delta 5,
Robert Hood,
Joy Division,
Peter and Kerry,
Sunsets and Hearts,
DNA,
Gong,
Angry Samoans,
EPMD,
Chris & Cosey,
Blake Baxter,
Crispy Ambulance,
CMW,
Gang of Four,
Fluxion,
The Trojans,
The New Christs,
The Motions,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lou Reed & Metallica,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.