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 Mozambique and from Jakarta.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Hong Kong 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Lalann to the grime kids.
I played it at the Crocodile.
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 Ronan. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
U.S. Maple,
The Invisible,
Skriet,
Man Parrish,
The Kinks,
Sly & The Family Stone,
Sister Nancy,
New York Dolls,
Gong,
D'Angelo,
Rufus Thomas,
Sixth Finger,
The Monks,
Mandrill,
Thinking Fellers Union Local 282,
Massinfluence,
Throbbing Gristle,
Röyhkä ja Rättö ja Lehtisalo,
Deadbeat,
Eurythmics,
Spandau Ballet,
Amazonics,
Clear Light,
The New Christs,
Hot Snakes,
Crispy Ambulance,
Rhythm & Sound,
Isaac Hayes,
Marmalade,
The Shadows of Knight,
The Remains,
Peter and Kerry,
Rotary Connection,
Pharaoh Sanders and the Fire Engines,
Technova,
Don Cherry,
Basic Channel,
Youth Brigade,
Nils Olav,
Traffic Nightmare,
Oneida,
Bobby Byrd,
Rekid,
Rahsaan Roland Kirk,
Gil Scott-Heron and Jamie xx,
Art Ensemble Of Chicago,
Andrew Ashong & Theo Parrish,
The Dave Clark Five,
Roxette,
Boredoms,
Bob Dylan,
Royal Trux,
The Martian,
Swell Maps,
Scrapy,
Lungfish,
The Walker Brothers,
Ajijia Myrayebe,
The Sonics,
Franke,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.