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 Papua New Guinea and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Tokyo 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Siglo XX to the disco kids.
I played it at CBGB's.
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 Angry Samoans. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Television Personalities 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 '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
CMW,
Archie Shepp,
Marvin Gaye,
Aural Exciters,
Accadde A,
The Human League,
Siglo XX,
The Monochrome Set,
Basic Channel,
Brick,
Gil Scott-Heron and Jamie xx,
Suburban Knight,
Bootsy Collins,
Porter Ricks,
Kayak,
D'Angelo,
This Heat,
OOIOO,
June of 44,
Bobby Womack,
Boredoms,
Fluxion,
Skriet,
The Barracudas,
Jacob Miller,
Johnny Osbourne,
T. Rex,
Lungfish,
Sällskapet,
Jerry Gold Smith,
Girls At Our Best!,
The Walker Brothers,
Judy Mowatt,
The Music Machine,
Sandy B,
The Moleskins,
the Swans,
Cluster,
Parry Music,
The Martian,
The Offenders,
Piero Umiliani,
Davy DMX,
Oppenheimer Analysis,
Camberwell Now,
Echo & the Bunnymen,
Simply Red,
The Flesh Eaters,
Rahsaan Roland Kirk,
Scrapy,
It's A Beautiful Day,
Adolescents,
Half Japanese,
Tommy Roe,
UT,
Deadbeat,
Jeru the Damaja,
Cal Tjader,
David Axelrod,
Nas,
Wally Richardson,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.