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 Liberia and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1976.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Manila 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer 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 Fluxion to the techno 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 Girls At Our Best!. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Underground Resistance 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 '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
F. McDonald,
Grandmaster Flash and the Furious Five,
Ultra Naté,
Make Up,
The United States of America,
Khruangbin,
Deutsch Amerikanische Freundschaft,
Bauhaus,
Gary Puckett & The Union Gap,
Avey Tare & Kría Brekkan,
Popol Vuh,
Blake Baxter,
Reagan Youth,
Kerri Chandler,
Dorothy Ashby,
Carl Craig,
De La Soul & Jungle Brothers,
Anthony Braxton,
The Fire Engines,
Grauzone,
Television Personalities,
Bill Wells,
Interpol,
Kool G Rap & DJ Polo,
Juan Atkins,
Shoche,
Ronnie Foster,
The Modern Lovers,
A Flock of Seagulls,
Michelle Simonal,
Bronski Beat,
Roy Ayers,
Art Ensemble Of Chicago,
Subhumans,
The Gun Club,
Duran Duran,
Monolake,
Johnny Osbourne,
Eve St. Jones,
Notorious Big And Bone Thugs,
D'Angelo,
The Sonics,
Gian Franco Pienzio,
X-101,
Delon & Dalcan,
The Saints,
Lebanon Hanover,
Henry Cow,
Nation of Ulysses,
Wings,
a-ha,
Jerry Gold Smith,
Das Ding,
8 Eyed Spy,
Ultimate Spinach,
Liaisons Dangereuses,
Silicon Teens,
Sam Rivers,
The Music Machine,
Cal Tjader,
The Move,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.