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 Azerbaijan and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1973.
I'm losing my edge.
To all the kids in Spokane and Delhi.
I'm losing my edge to the art-school Salvador 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Drive Like Jehu to the electroclash kids.
I played it at the 40 Watt.
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 Banda Bassotti. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Ornette Coleman 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
The Motions,
The Cosmic Jokers,
Aswad,
Rosa Yemen,
Ken Boothe,
Minor Threat,
Inner City,
Moby Grape,
Malaria!,
Shuggie Otis,
In Retrospect,
Flash Fearless,
Lonnie Liston Smith,
The Offenders,
Radio Birdman,
Eric Copeland,
Lou Christie,
The American Breed,
The Doors,
Bang On A Can,
Maleditus Sound,
Fugazi,
Television,
Black Sheep,
Stereo Dub,
Ronnie Foster,
Organ,
Sly & The Family Stone,
Pulsallama,
Steve Hackett,
Youth Brigade,
Delta 5,
The Mojo Men,
Fela Kuti,
Joensuu 1685,
Scan 7,
AZ,
Pierre Henry,
Crispian St. Peters,
Rekid,
Mantronix,
Eric Dolphy,
Terry Callier,
Sällskapet,
Bronski Beat,
Bootsy Collins,
Jesper Dahlback,
Pagans,
Monolake,
Public Image Ltd.,
Ultravox,
Roy Ayers Ubiquity,
Marmalade,
Severed Heads,
The Men They Couldn't Hang,
Crime,
Soulsonic Force,
Nils Olav,
Lee Hazlewood,
Amon Düül,
Sugar Minott,
Eyeless In Gaza,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.