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 Ethiopia and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Houston and Seoul.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the marimba 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 Avey Tare's Slasher Flicks to the disco kids.
I played it at Cafe Wha.
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 Sunsets and Hearts. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal punk 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 a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
JFA,
The Selecter,
Marc Romboy vs. Booka Shade,
T. Rex,
Archie Shepp,
MC5,
Jeff Mills,
Gang Gang Dance,
A Flock of Seagulls,
Ponytail,
Bauhaus,
Thinking Fellers Union Local 282,
Deadbeat,
The Fugs,
the Soft Cell,
Marmalade,
Basic Channel,
Minor Threat,
Black Flag,
The Techniques,
Johnny Clarke,
Rhythm & Sound,
Scott Walker,
Rakim,
Gil Scott Heron,
Matthew Bourne,
The Velvet Underground,
Iggy Pop,
The Leaves,
The Gun Club,
Oppenheimer Analysis,
Wally Richardson,
Black Bananas,
Chrome,
Sandy B,
Jacob Miller,
Blake Baxter,
Yaz,
Intrusion,
Zapp,
Sex Pistols,
Tres Demented,
Joe Smooth,
Franke,
Ronnie Foster,
CMW,
Peter and Kerry,
The Neon Judgement,
Charles Mingus,
Average White Band,
Man Parrish,
Reagan Youth,
The West Coast Pop Art Experimental Band,
R.M.O.,
Bootsy Collins,
James White and The Blacks,
Ken Boothe,
Fat Boys,
the Fania All-Stars,
Shoche,
Minny Pops,
The Fuzztones,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.