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 Tunisia and from Philadelphia.
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 1961 to 1972.
I'm losing my edge.
To all the kids in London and Mumbai.
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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 The Martian to the dance kids.
I played it at Cafe Wha.
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 K-Klass. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Soft Machine,
Bluetip,
Panda Bear,
Neil Young & Crazy Horse,
Television Personalities,
Eric B and Rakim,
Eric Dolphy,
Make Up,
Bobby Hutcherson,
Ossler,
Section 25,
Thompson Twins,
Peter and Kerry,
Kenny Larkin,
Boogie Down Productions,
Matthew Bourne,
Bobby Sherman,
Eli Mardock,
Japan,
The Young Rascals,
Maleditus Sound,
Zero Boys,
Jerry Gold Smith,
Stiv Bators,
Lucky Dragons,
Colin Newman,
Gregory Isaacs,
Dead Boys,
The Grass Roots,
D'Angelo,
Skaos,
Stetsasonic,
Shoche,
Magma,
Dual Sessions,
Kerri Chandler,
The Royal Family And The Poor,
Echo & the Bunnymen,
The Chocolate Watch Band,
Blossom Toes,
Grey Daturas,
Pierre Henry,
Swell Maps,
Sam Rivers,
Ten City,
Deutsch Amerikanische Freundschaft,
Lyres,
Ohio Players,
Al Stewart,
Man Parrish,
Duran Duran,
The Searchers,
Neu!,
The Seeds,
Arthur Verocai,
Bill Near,
The Associates,
U.S. Maple,
Dark Day,
The Motions,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.