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 Honduras and from Accra.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Toronto 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 808 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 Blackbyrds to the jazz kids.
I played it at the Hacienda.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
8 Eyed Spy,
Strawberry Alarm Clock,
Moby Grape,
Tomorrow,
Public Enemy,
Bobbi Humphrey,
the Soft Cell,
John Coltrane,
Kool Moe Dee,
U.S. Maple,
Kerrie Biddell,
Manfred Mann's Earth Band,
Flash Fearless,
Ash Ra Tempel,
Robert Görl,
DJ Style,
Half Japanese,
Gang Green,
The J.B.'s,
Supertramp,
Sly & The Family Stone,
Notorious BIG live in Amsterdam,
The Slackers,
The Fugs,
The Wake,
Donald Byrd,
Bizarre Inc.,
Todd Rundgren,
Joensuu 1685,
June Days,
Agent Orange,
Negative Approach,
Matthew Halsall,
LL Cool J,
Soft Cell,
Little Man,
Ultravox,
Surgeon,
Gian Franco Pienzio,
John Lydon,
Wire,
Make Up,
Sonny Sharrock,
Ituana,
The American Breed,
Ronan,
Trumans Water,
Drive Like Jehu,
Grandmaster Flash and the Furious Five,
Don Cherry,
De La Soul & Jungle Brothers,
Lizzy Mercier Descloux,
Brothers Johnson,
Eden Ahbez,
Gang of Four,
Connie Case,
The Litter,
Neil Young,
Black Moon, Black Moon, Black Moon, Black Moon.
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.