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 Egypt and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Hong Kong 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 mellotron 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 Stereo Dub to the grime 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 Sugar Minott. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your linndrum and bought a güiro.
I hear that you and your band have sold your güiro and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Audionom,
Rapeman,
Rufus Thomas,
Man Parrish,
Gerry Rafferty,
Wally Richardson,
The Wake,
Pete Rock & C.L. Smooth,
a-ha,
The Jesus and Mary Chain,
Neu!,
Patti Smith,
The Fortunes,
Sonny Sharrock,
Soul Sonic Force,
LL Cool J,
Organ,
The Selecter,
Robert Hood,
Gang of Four,
Fad Gadget,
Darondo,
David Axelrod,
K-Klass,
Kool Moe Dee,
Kauko Röyhkä ja Narttu,
The Sound,
Average White Band,
Shoche,
The Electric Prunes,
The Gun Club,
Danielle Patucci,
The Doobie Brothers,
Pharaoh Sanders and the Fire Engines,
Jimmy McGriff,
Public Enemy,
Section 25,
Quando Quango,
Vladislav Delay,
Fugazi,
Banda Bassotti,
Stiv Bators,
Marine Girls,
Richard Hell and the Voidoids,
It's A Beautiful Day,
Sonic Youth,
Gil Scott-Heron and Jamie xx,
Lee Hazlewood,
Ronan,
Ten City,
Johnny Clarke,
Henry Cow,
Lebanon Hanover,
Metal Thangz,
Pantaleimon,
Blancmange,
Kevin Saunderson,
Howard Jones,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.