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 Bahrain and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 Mumbai and Manchester.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 Don Cherry to the grime 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 Black Pus. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Peter & Gordon,
Mary Jane Girls,
Porter Ricks,
Byron Stingily,
The United States of America,
Pussy Galore,
Country Joe & The Fish,
The Slackers,
Gil Scott-Heron and Jamie xx,
De La Soul & Jungle Brothers,
Barry Ungar,
Shoche,
Parry Music,
Ralphi Rosario,
Goldenarms,
Nirvana,
Soft Machine,
Bobby Byrd,
Harmonia,
Young Marble Giants,
Ornette Coleman,
Andrew Hill,
Black Flag,
Easy Going,
Flash Fearless,
Simply Red,
Cal Tjader,
Jeff Mills,
Arthur Verocai,
The American Breed,
Prince Buster,
Circle Jerks,
Archie Shepp,
Peter and Kerry,
The Pop Group,
Matthew Bourne,
Camberwell Now,
Bootsy's Rubber Band,
The Tremeloes,
Gregory Isaacs,
Stiv Bators,
Maurizio,
Siglo XX,
Bobby Hutcherson,
Boredoms,
Oppenheimer Analysis,
Charles Mingus,
The Mojo Men,
The Remains,
The Motions,
Red Lorry Yellow Lorry,
Kool G Rap & DJ Polo,
Lalann,
Dual Sessions,
Echospace,
The Gladiators,
Swell Maps,
a-ha,
Amon Düül,
Intrusion,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.