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 Austria and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Taipei 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 snare sounds with much patience.
I was there when Lou Reed 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 Art Ensemble Of Chicago to the funk kids.
I played it at the Roxy.
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 Crash Course in Science. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Kool Moe Dee,
Todd Terry,
Infiniti,
The Sound,
Shuggie Otis,
Connie Case,
Quando Quango,
Suburban Knight,
Susan Cadogan,
The Red Krayola,
Black Pus,
Main Source,
Beasts of Bourbon,
Second Layer,
Roger Hodgson,
Black Sheep,
Tropical Tobacco,
Gary Puckett & The Union Gap,
Todd Rundgren,
Fear,
Niagra,
Eurythmics,
Fluxion,
Von Mondo,
Brand Nubian,
Gang Starr,
Cybotron,
Underground Resistance,
Arthur Verocai,
Mission of Burma,
Slave,
Darondo,
Tomorrow,
the Normal,
Ken Boothe,
DeepChord presents Echospace,
The Gap Band,
Joey Negro,
Lebanon Hanover,
Lower 48,
John Coltrane,
Sexual Harrassment,
Deadbeat,
Cluster,
The Remains,
The Black Dice,
Pussy Galore,
Wings,
E-Dancer,
Radiopuhelimet,
the Soft Cell,
Jeru the Damaja,
Funkadelic,
The Leaves,
Accadde A,
Dark Day,
The Jesus and Mary Chain,
Rhythm & Sound,
The Names, The Names, The Names, The Names.
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.