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 Argentina and from Delhi.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Alton Ellis to the electroclash kids.
I played it at Cafe Wha.
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 Bobby Byrd. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Bootsy Collins record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Yusef Lateef,
Los Fastidios,
Frankie Knuckles,
Newcleus,
Man Eating Sloth,
Eddi Front,
Scion,
The Wake,
Saccharine Trust,
the Human League,
The Residents,
UT,
The Gladiators,
Lakeside,
Public Image Ltd.,
Larry & the Blue Notes,
Fear,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Fortunes,
Au Pairs,
Jerry's Kids,
The Peanut Butter Conspiracy,
Freddie Wadling,
Rites of Spring,
Pharaoh Sanders and the Fire Engines,
Faust,
Chris & Cosey,
Sun City Girls,
Rufus Thomas,
Isaac Hayes,
Jeff Mills,
Mandrill,
The Mojo Men,
Janne Schatter,
Mo-Dettes,
Manfred Mann's Earth Band,
Crispian St. Peters,
Richard Hell and the Voidoids,
Joyce Sims,
Country Teasers,
Echospace,
Lucky Dragons,
Radiopuhelimet,
The Grass Roots,
Graham Central Station,
Pylon,
Barbara Tucker,
Masters at Work,
Electric Light Orchestra,
Bob Dylan,
Charles Mingus,
Piero Umiliani,
The Last Poets,
Dawn Penn,
Robert Wyatt,
Lonnie Liston Smith,
Bush Tetras,
The West Coast Pop Art Experimental Band,
Selector Dub Narcotic,
John Lydon,
Hoover, Hoover, Hoover, Hoover.
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.