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 Serbia and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Lagos 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 linndrum 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 Johnny Clarke to the grime kids.
I played it at CBGB's.
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 EPMD. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every The Move 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Fire Engines,
Ultravox,
Matthew Bourne,
L. Decosne,
Rowland S Howard / Lydia Lunch,
Monolake,
Liaisons Dangereuses,
Easy Going,
Archie Shepp,
The Saints,
The Star Department,
Soulsonic Force,
Glambeats Corp.,
Black Flag,
Alphaville,
Gastr Del Sol,
10cc,
Notorious Big And Bone Thugs,
Letta Mbulu,
New Order,
kango's stein massive,
KRS-One,
The Real Kids,
James White and The Blacks,
Theoretical Girls,
The Sisters of Mercy,
D'Angelo,
The Dave Clark Five,
Khruangbin,
The Raincoats,
Bill Near,
Basic Channel,
Rhythim Is Rhythim,
Tim Buckley,
Intrusion,
the Association,
Ituana,
The Walker Brothers,
the Bar-Kays,
The Monks,
James Chance & The Contortions,
Lonnie Liston Smith,
Don Cherry,
Pagans,
Yellowson,
Derrick Morgan,
The Gap Band,
Swell Maps,
The Sound,
Banda Bassotti,
Zero Boys,
Davy DMX,
Prince Buster,
Judy Mowatt,
Sad Lovers and Giants,
Jandek,
Tears for Fears,
Gil Scott-Heron and Jamie xx,
Drive Like Jehu,
Saccharine Trust,
Godley & Creme,
Sticky Fingaz feat. Raekwon,
Parry Music,
Todd Terry,
the Germs, the Germs, the Germs, the Germs.
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.