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 Kenya and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school New York 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Arab on Radar to the dance 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 The Mighty Diamonds. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
the Swans,
Derrick May,
Connie Case,
The Gap Band,
The Monochrome Set,
Boredoms,
Grey Daturas,
Eyeless In Gaza,
Symarip,
Intrusion,
Metal Thangz,
The Men They Couldn't Hang,
Main Source,
Junior Murvin,
Black Flag,
Funkadelic,
Soul II Soul,
Audionom,
Big Daddy Kane,
Scion,
Vaughan Mason & Crew,
Kings Of Tomorrow,
Dark Day,
Röyhkä ja Rättö ja Lehtisalo,
The Fortunes,
Derrick Morgan,
Roger Hodgson,
Cabaret Voltaire,
Banda Bassotti,
The Beau Brummels,
Mr. Review,
Piero Umiliani,
Spandau Ballet,
The Pop Group,
Panda Bear,
The Move,
Sällskapet,
Aaron Thompson,
Oneida,
Drive Like Jehu,
Kas Product,
Q65,
Susan Cadogan,
Nico,
Fear,
The Leaves,
Marmalade,
Skriet,
Deutsch Amerikanische Freundschaft,
Slick Rick,
Faraquet,
Theoretical Girls,
Fugazi,
Khruangbin,
ABC,
The Wake,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Franke,
H. Thieme,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.