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 Libya and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Bremen 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 theremin 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 Toni Rubio to the rock 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 Kerri Chandler. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Steve Hackett,
The Index,
The Happenings,
F. McDonald,
Amazonics,
Radiohead,
Ralphi Rosario,
The Fugs,
Eric Dolphy,
Sonic Youth,
Kurtis Blow,
The United States of America,
Joyce Sims,
Sam Rivers,
Prince Buster,
ABBA,
Bobby Sherman,
The Young Rascals,
K-Klass,
Donald Byrd,
The Five Americans,
Spandau Ballet,
John Holt,
Josef K,
Bluetip,
Con Funk Shun,
Oppenheimer Analysis,
The Black Dice,
Ultra Naté,
T. Rex,
Underground Resistance,
The Residents,
the Fania All-Stars,
Agent Orange,
Simply Red,
Electric Light Orchestra,
Faust,
Johnny Clarke,
Justin Hinds & The Dominoes,
Ludus,
Roger Hodgson,
Jawbox,
Average White Band,
Rosa Yemen,
Gil Scott Heron,
Dark Day,
John Foxx,
Cecil Taylor,
Stockholm Monsters,
Jeff Mills,
Zero Boys,
10cc,
Slick Rick,
Marvin Gaye,
Wolf Eyes,
Ultravox,
Eric B and Rakim,
Warren Ellis,
X-101,
Babytalk,
Outsiders,
the Human League,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.