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 Iraq and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 Salvador and Tehran.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Motorama to the crunk 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 Be Bop Deluxe. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Chrome 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 '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Man Eating Sloth,
The Searchers,
Marshall Jefferson,
Simply Red,
The Offenders,
Sonny Sharrock,
Bobbi Humphrey,
Gang Starr,
Rites of Spring,
Brothers Johnson,
Barry Ungar,
Eric Copeland,
Ohio Players,
Spandau Ballet,
Ajijia Myrayebe,
The Fugs,
June Days,
Severed Heads,
Kerrie Biddell,
Organ,
Hardrive,
The Cowsills,
Mars,
Neu!,
Stiv Bators,
Cameo,
China Crisis,
the Swans,
The Doors,
Amazonics,
Kauko Röyhkä ja Narttu,
Black Pus,
Whodini,
Laurel Aitken,
The Happenings,
Crispian St. Peters,
Marc Romboy vs. Booka Shade,
Das Ding,
Aloha Tigers,
Bill Near,
Roy Ayers,
Procol Harum,
the Association,
Tropical Tobacco,
Scratch Acid,
The Alarm Clocks,
Big Daddy Kane,
Jesper Dahlback,
The Zeros,
Boogie Down Productions,
Pussy Galore,
Kool G Rap & DJ Polo,
The Five Americans,
Gastr Del Sol,
It's A Beautiful Day,
Reuben Wilson,
Radiopuhelimet,
Davy DMX,
Hoover,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.