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 Malawi and from Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Fad Gadget to the techno 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 Niagra. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Lower 48 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Stetsasonic,
Cymande,
The Pop Group,
The Cosmic Jokers,
Faust,
Soul II Soul,
Rakim,
Nation of Ulysses,
The Human League,
Piero Umiliani,
Bobby Womack,
Nirvana,
Nick Fraelich,
Scan 7,
Sunsets and Hearts,
Tears for Fears,
Grandmaster Flash,
Man Eating Sloth,
T.S.O.L.,
Juan Atkins,
Monolake,
Marcia Griffiths,
U.S. Maple,
Negative Approach,
Cabaret Voltaire,
Camberwell Now,
Gil Scott-Heron & Brian Jackson,
Bang On A Can,
Gichy Dan,
the Association,
Avey Tare's Slasher Flicks,
Gian Franco Pienzio,
Derrick May,
Oppenheimer Analysis,
the Normal,
Judy Mowatt,
Dark Day,
The Golliwogs,
World's Most,
Nick Cave & The Bad Seeds,
The Invisible,
Au Pairs,
Donald Byrd,
Archie Shepp,
Silicon Teens,
Josef K,
D'Angelo,
Von Mondo,
Main Source,
Radiopuhelimet,
48th St. Collective,
Andrew Hill,
Barclay James Harvest,
John Holt,
The Durutti Column,
Robert Wyatt,
Massinfluence,
Anthony Braxton,
Mo-Dettes,
X-Ray Spex,
Kerrie Biddell,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.