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 Romania and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 clarinet 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 Second Layer to the rap kids.
I played it at the Astoria.
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 Minor Threat. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Hashim 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Heaven 17,
Man Eating Sloth,
The Neon Judgement,
Q and Not U,
Rapeman,
Bluetip,
The Blues Magoos,
Barclay James Harvest,
Chris & Cosey,
The Fire Engines,
Eric Dolphy,
Average White Band,
Animal Collective,
Bad Manners,
Section 25,
Lou Reed,
Q65,
Basic Channel,
ABBA,
kango's stein massive,
Cameo,
Nas,
Curtis Mayfield,
The Zeros,
Mad Mike,
Joe Smooth,
The Doobie Brothers,
Rakim,
Vladislav Delay,
The Standells,
Nation of Ulysses,
Steve Hackett,
Fat Boys,
The Sound,
Pussy Galore,
The Evens,
U.S. Maple,
Bootsy's Rubber Band,
The Victims,
The Shadows of Knight,
The Misunderstood,
Bronski Beat,
Amazonics,
Oppenheimer Analysis,
James Chance & The Contortions,
The Fortunes,
Cymande,
Neu!,
Connie Case,
Ultramagnetic MC's,
World's Most,
Donald Byrd,
Susan Cadogan,
Lindisfarne,
Thompson Twins,
Prince Buster,
Marshall Jefferson,
One Last Wish,
Laurel Aitken,
Brick,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.