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 Slovenia 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 1966 to 1977.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 the Sonics to the disco kids.
I played it at the Hacienda.
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 Major Organ And The Adding Machine. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
kango's stein massive,
Joyce Sims,
Lonnie Liston Smith,
The Toasters,
Röyhkä ja Rättö ja Lehtisalo,
Sixth Finger,
Stereo Dub,
Captain Beefheart & His Magic Band,
Todd Rundgren,
Dennis Brown,
Hashim,
Bill Wells,
Lyres,
the Slits,
Terrestrial Tones,
Crime,
The Modern Lovers,
Thee Headcoats,
Beasts of Bourbon,
Wally Richardson,
DJ Sneak,
The Leaves,
The Buckinghams,
Gerry Rafferty,
Mad Mike,
Eric Copeland,
Little Man,
Funkadelic,
Sun Ra Arkestra,
Bill Near,
Lafayette Afro Rock Band,
Rahsaan Roland Kirk,
Warsaw,
Sly & The Family Stone,
Art Ensemble Of Chicago,
Zapp,
Yellowson,
Eden Ahbez,
Joe Finger,
Infiniti,
Lou Reed,
Babytalk,
KRS-One,
Roxette,
Bang On A Can,
Joey Negro,
Easy Going,
The Mummies,
The Pretty Things,
Sex Pistols,
Theoretical Girls,
Nation of Ulysses,
Carl Craig,
The Remains,
Darondo,
The Standells,
Rites of Spring,
Morten Harket,
The Detroit Cobras,
Can,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.