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 Poland and from Bremen.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
I'm losing my edge to the art-school Cairo 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 guitar 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 Max Romeo to the rap kids.
I played it at the Troubador.
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 Sun City Girls. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Deepchord 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Pharoah Sanders,
Aural Exciters,
Matthew Halsall,
Nas,
Susan Cadogan,
Don Cherry,
Sarah Menescal,
Cal Tjader,
Barclay James Harvest,
Porter Ricks,
DJ Style,
Bill Near,
The Real Kids,
The Residents,
Robert Hood,
Royal Trux,
Minnie Riperton,
OOIOO,
Jeru the Damaja,
Isaac Hayes,
Monolake,
MDC,
Clear Light,
Lightning Bolt,
the Sonics,
FM Einheit,
Kenny Larkin,
Delta 5,
Ronnie Foster,
The Happenings,
Crime,
Sexual Harrassment,
Vladislav Delay,
David Bowie,
Freddie Wadling,
Alton Ellis,
The Fall,
Josef K,
Joe Smooth,
Red Lorry Yellow Lorry,
Sällskapet,
Aswad,
Banda Bassotti,
Shoche,
The Sonics,
Easy Going,
Brand Nubian,
The Toasters,
The Saints,
The Dead C,
the Swans,
Country Teasers,
Suicide,
Louis and Bebe Barron,
Subhumans,
DeepChord presents Echospace,
Siglo XX,
Nick Fraelich,
London Community Gospel Choir,
Pete Rock & C.L. Smooth,
Cabaret Voltaire,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.