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 Paraguay and from Columbus.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
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 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 Fluxion to the dance kids.
I played it at the Crocodile.
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 Sly & The Family Stone. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
the Swans,
Laurel Aitken,
Monks,
Tim Buckley,
Jesper Dahlbäck,
Bootsy's Rubber Band,
Piero Umiliani,
Fatback Band,
Brick,
Josef K,
Fort Wilson Riot,
Cameo,
Maurizio,
Public Enemy,
Q65,
Gil Scott-Heron & Brian Jackson,
David Axelrod,
Gary Puckett & The Union Gap,
Robert Görl,
The Young Rascals,
Eden Ahbez,
Mad Mike,
Qualms,
Make Up,
Circle Jerks,
Little Man,
Joy Division,
Jeru the Damaja,
Aloha Tigers,
Echo & the Bunnymen,
The Blackbyrds,
Derrick May,
Ponytail,
Siouxsie and the Banshees,
The Gun Club,
Sly & The Family Stone,
Rapeman,
Khruangbin,
Gang Starr,
Richard Hell and the Voidoids,
The Mighty Diamonds,
Danielle Patucci,
The Birthday Party,
Young Marble Giants,
Sound Behaviour,
DJ Style,
Gerry Rafferty,
The Offenders,
Kas Product,
De La Soul & Jungle Brothers,
Lafayette Afro Rock Band,
H. Thieme,
The Toasters,
the Bar-Kays,
Wolf Eyes,
Hasil Adkins,
Donald Byrd,
Al Stewart,
Lower 48,
Archie Shepp,
Man Parrish,
Prince Buster,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.