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 Serbia and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Sao Paulo and Accra.
I'm losing my edge to the art-school Bremen 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 808 sounds with much patience.
I was there when Robert Palmer 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 Vogues to the disco kids.
I played it at the Roxy.
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 Cecil Taylor. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Barclay James Harvest,
The Searchers,
Tim Buckley,
Gil Scott-Heron & Brian Jackson,
Warsaw,
Zero Boys,
Gang of Four,
Television Personalities,
Maurizio,
The Velvet Underground,
Desert Stars,
Josef K,
Curtis Mayfield,
The Dirtbombs,
Ohio Players,
Marshall Jefferson,
The Men They Couldn't Hang,
AZ,
Dr. Dre and Snoop Doggy Dog,
Vainqueur,
Brass Construction,
Harpers Bizarre,
These Immortal Souls,
Visionaries,LMNO, T- Love & Iriscience,
Livin' Joy,
Tomorrow,
Masters at Work,
Oneida,
Darondo,
Sound Behaviour,
Man Eating Sloth,
Lightning Bolt,
Louis and Bebe Barron,
Tears for Fears,
The New Christs,
The Remains,
Fear,
Crooked Eye,
The Victims,
The Music Machine,
Symarip,
The Invisible,
Pierre Henry,
The Detroit Cobras,
Sun City Girls,
The Sound,
Throbbing Gristle,
The Selecter,
Soulsonic Force,
8 Eyed Spy,
Dead Boys,
The Mojo Men,
Notorious Big And Bone Thugs,
Charles Mingus,
Derrick May,
Delta 5,
Andrew Hill,
Cymande,
Heavy D & The Boyz,
Banda Bassotti,
DJ Style, DJ Style, DJ Style, DJ Style.
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.