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 Hungary and from Mexico City.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Notorious BIG live in Amsterdam to the crunk kids.
I played it at the Spitz.
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 Motorama. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
The Music Machine,
Sandy B,
Cal Tjader,
Malaria!,
Von Mondo,
Eddi Front,
H. Thieme,
Liliput,
Eve St. Jones,
the Slits,
Eurythmics,
Junior Murvin,
Rowland S Howard / Lydia Lunch,
John Cale,
Althea and Donna,
Wasted Youth,
Traffic Nightmare,
James White and The Blacks,
Flash Fearless,
Stereo Dub,
Stiv Bators,
Bob Dylan,
Second Layer,
Gang Starr,
Dave Gahan,
Desert Stars,
Skriet,
Essential Logic,
London Community Gospel Choir,
Röyhkä ja Rättö ja Lehtisalo,
Au Pairs,
Ituana,
The Alarm Clocks,
Inner City,
Bobby Hutcherson,
Faraquet,
The Dirtbombs,
Minor Threat,
Pole,
The Velvet Underground,
The Walker Brothers,
Gang Green,
Altered Images,
Lonnie Liston Smith,
Susan Cadogan,
Andrew Ashong & Theo Parrish,
Roy Ayers Ubiquity,
Rosa Yemen,
Sight & Sound,
Quantec,
The Remains,
Rekid,
Peter & Gordon,
Cameo,
The Trojans,
Drive Like Jehu,
Al Stewart,
Teenage Jesus and the Jerks,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.