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 Togo and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Seoul.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 In Retrospect to the crunk kids.
I played it at Trash.
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 The Dead C. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Q65 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Andrew Ashong & Theo Parrish,
Masters at Work,
The Human League,
Bobbi Humphrey,
Darondo,
Bauhaus,
Minnie Riperton,
The Count Five,
Simply Red,
Scratch Acid,
Massinfluence,
Grandmaster Flash and the Furious Five,
Marcia Griffiths,
Pylon,
Cameo,
Boredoms,
Deadbeat,
Howard Jones,
Bush Tetras,
John Holt,
Fela Kuti,
the Human League,
Quantec,
The Knickerbockers,
Black Flag,
The West Coast Pop Art Experimental Band,
John Coltrane,
The Chocolate Watch Band,
Half Japanese,
Peter and Kerry,
Black Bananas,
Piero Umiliani,
Shoche,
Echospace,
Bobby Womack,
Quando Quango,
Max Romeo,
June Days,
Mr. Review,
Chrome,
Eric Dolphy,
The Slits,
Bronski Beat,
The Evens,
Audionom,
Television Personalities,
Monks,
Sixth Finger,
The Sonics,
Moby Grape,
Cymande,
Royal Trux,
the Association,
Sonic Youth,
Kurtis Blow,
The Selecter,
The Names,
Fat Boys,
Yusef Lateef,
Fugazi, Fugazi, Fugazi, Fugazi.
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.