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 Kiribati and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1972.
I'm losing my edge.
To all the kids in Toronto and Delhi.
I'm losing my edge to the art-school Mexico City 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Aaron Thompson to the punk kids.
I played it at CBGB's.
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 Idris Muhammad. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every The Mighty Diamonds 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
James Chance & The Contortions,
Monks,
Depeche Mode,
Crime,
Masters at Work,
B.T. Express,
Gichy Dan,
Faust,
Magazine,
The Pop Group,
Avey Tare,
Fear,
Lou Reed,
The Gories,
Josef K,
Ice-T,
Hardrive,
Andrew Ashong & Theo Parrish,
Alison Limerick,
Amazonics,
Davy DMX,
Gil Scott Heron,
Bizarre Inc.,
The Fall,
Art Ensemble Of Chicago,
Scan 7,
T. Rex,
Frankie Knuckles,
Bobby Womack,
The Blues Magoos,
Dual Sessions,
Scion,
Brass Construction,
Y Pants,
Whodini,
June of 44,
Nik Kershaw,
Young Marble Giants,
Mad Mike,
Das Ding,
FM Einheit,
A Certain Ratio,
Thee Headcoats,
the Germs,
Dave Gahan,
Warren Ellis,
Scientists,
Fort Wilson Riot,
48th St. Collective,
Eric B and Rakim,
Loose Ends,
Eric Dolphy,
Oblivians,
Hot Snakes,
Peter & Gordon,
H. Thieme,
The Blackbyrds,
Freddie Wadling,
The Stooges,
The Gap Band,
Boogie Down Productions,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.