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 Zambia and from Spokane.
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 Shanghai and Accra.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator 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 The Kinks to the dance 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 Nas. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal grime 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 a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
The Black Dice,
In Retrospect,
Robert Wyatt,
Q and Not U,
Malaria!,
Rapeman,
Stockholm Monsters,
Marine Girls,
David Bowie,
Minutemen,
Orchestral Manoeuvres in the Dark,
Lou Reed,
Larry & the Blue Notes,
KRS-One,
Stetsasonic,
Flash Fearless,
Jesper Dahlbäck,
Marshall Jefferson,
Audionom,
The Leaves,
Tears for Fears,
X-101,
Lalo Schifrin,
E-Dancer,
Patti Smith,
The Angels of Light,
The Move,
One Last Wish,
Dual Sessions,
Ice-T,
The Electric Prunes,
Kerri Chandler,
Gang of Four,
Howard Jones,
The Smiths,
Nas,
John Lydon,
The Golliwogs,
Ornette Coleman,
the Association,
Notorious Big And Bone Thugs,
Peter and Kerry,
The Peanut Butter Conspiracy,
The Busters,
Brick,
Soulsonic Force,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jawbox,
the Soft Cell,
Lonnie Liston Smith,
The Music Machine,
D'Angelo,
Bill Wells,
Wolf Eyes,
The Neon Judgement,
June of 44,
Stereo Dub,
Terry Callier,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.