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 Algeria and from Beijing.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Delhi and Delhi.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 F. McDonald to the electroclash kids.
I played it at the Spitz.
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 Smog. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
A Certain Ratio,
Ornette Coleman,
Gong,
Notorious BIG live in Amsterdam,
Davy DMX,
Au Pairs,
The Happenings,
The Electric Prunes,
The Mojo Men,
Fad Gadget,
Marmalade,
Ralphi Rosario,
Amazonics,
The United States of America,
Röyhkä ja Rättö ja Lehtisalo,
The Monochrome Set,
Ash Ra Tempel,
The Pretty Things,
Accadde A,
Tears for Fears,
Donald Byrd,
Danielle Patucci,
Arcadia,
Intrusion,
Lalo Schifrin,
Youth Brigade,
Roxy Music,
10cc,
D'Angelo,
Sound Behaviour,
The Busters,
Scratch Acid,
Eric Dolphy,
Bang on a Can All-Stars,
Suicide,
Public Enemy,
Soft Machine,
Laurel Aitken,
The Invisible,
Outsiders,
Ituana,
Guru Guru,
Unwound,
Soulsonic Force,
Liliput,
Slick Rick,
Siouxsie and the Banshees,
The Alarm Clocks,
Rahsaan Roland Kirk,
KRS-One,
the Germs,
Interpol,
China Crisis,
Thinking Fellers Union Local 282,
Mission of Burma,
B.T. Express,
A Flock of Seagulls,
Barclay James Harvest,
Archie Shepp,
Girls At Our Best!,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.