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 Tajikistan and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Lagos and New York.
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 Tom Verlaine 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 Rhythm & Sound to the rap kids.
I played it at the Astoria.
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 Television Personalities. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Metal Thangz 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your organ and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Andrew Hill,
R.M.O.,
The Skatalites,
Todd Terry,
Tim Buckley,
The Martian,
Scott Walker,
The Fall,
Zero Boys,
Donald Byrd,
Dawn Penn,
The Move,
Suburban Knight,
Fifty Foot Hose,
Juan Atkins,
Jawbox,
The Cowsills,
Bill Wells,
Rhythm & Sound,
Robert Görl,
Kango’s Stein Massive,
Iggy Pop,
Circle Jerks,
Marshall Jefferson,
Rhythim Is Rhythim,
Crime,
Avey Tare's Slasher Flicks,
John Coltrane,
Cecil Taylor,
Babytalk,
The Men They Couldn't Hang,
Brass Construction,
The Fortunes,
Ultravox,
Soul Sonic Force,
D'Angelo,
Idris Muhammad,
Deutsch Amerikanische Freundschaft,
The Red Krayola,
Harpers Bizarre,
Kevin Saunderson,
Pete Rock & C.L. Smooth,
Curtis Mayfield,
Jeff Mills,
Wings,
Second Layer,
John Holt,
The Gories,
The Techniques,
The Saints,
Parry Music,
Alison Limerick,
Red Lorry Yellow Lorry,
Ohio Players,
Barrington Levy,
Subhumans,
Godley & Creme,
Todd Rundgren,
The Fire Engines,
Y Pants,
The Doors,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.