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 Estonia and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1973.
I'm losing my edge.
To all the kids in Houston and Shanghai.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Rahsaan Roland Kirk to the rap kids.
I played it at the 40 Watt.
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 Roy Ayers Ubiquity. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Sexual Harrassment,
Gabor Szabo,
Siouxsie and the Banshees,
Y Pants,
Television,
Saccharine Trust,
Angry Samoans,
Oppenheimer Analysis,
Maurizio,
Sun Ra Arkestra,
Underground Resistance,
The Busters,
The Seeds,
Alice Coltrane,
The Raincoats,
Severed Heads,
Janne Schatter,
Big Daddy Kane,
Masters at Work,
Lightning Bolt,
The Vogues,
Guru Guru,
Derrick Morgan,
Mo-Dettes,
Fort Wilson Riot,
Rotary Connection,
Pantaleimon,
Sight & Sound,
Ten City,
Lyres,
Gil Scott Heron,
Bobby Hutcherson,
Jesper Dahlbäck,
Rekid,
Throbbing Gristle,
Altered Images,
Jeff Lynne,
Camron Feat. Memphis Bleek And Beenie Seigel,
Das Ding,
Althea and Donna,
The Jesus and Mary Chain,
Angels of Light & Akron/Family,
The Remains,
Popol Vuh,
Barrington Levy,
Rowland S Howard / Lydia Lunch,
David McCallum,
In Retrospect,
Avey Tare's Slasher Flicks,
Duran Duran,
Interpol,
Donald Byrd,
Skarface,
Piero Umiliani,
Electric Prunes,
Beasts of Bourbon,
Morten Harket,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.