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 Colombia and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1962 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Mumbai.
I'm losing my edge to the art-school Delhi 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Skaos to the crunk 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 Sixth Finger. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Sandy B,
Aural Exciters,
Sex Pistols,
Bobby Womack,
Thompson Twins,
Gang Starr,
The Mummies,
Rowland S Howard / Lydia Lunch,
Blake Baxter,
Los Fastidios,
the Bar-Kays,
Reagan Youth,
Sonny Sharrock,
The Modern Lovers,
Gil Scott-Heron and Jamie xx,
Faust,
Chris Corsano,
Kango’s Stein Massive,
Rhythm & Sound,
The United States of America,
Television Personalities,
Outsiders,
Lebanon Hanover,
The West Coast Pop Art Experimental Band,
The Techniques,
Alphaville,
Graham Central Station,
The Count Five,
Hoover,
Red Lorry Yellow Lorry,
Matthew Halsall,
The Searchers,
Anthony Braxton,
Royal Trux,
Rahsaan Roland Kirk,
Be Bop Deluxe,
Lakeside,
Howard Jones,
The Detroit Cobras,
Dead Boys,
Shoche,
F. McDonald,
The Alarm Clocks,
Judy Mowatt,
Section 25,
Sällskapet,
Silicon Teens,
Pantaleimon,
Ohio Players,
DeepChord presents Echospace,
Easy Going,
It's A Beautiful Day,
FM Einheit,
The Dead C,
Supertramp,
Skaos,
The Golliwogs,
Essential Logic,
Audionom,
Livin' Joy,
Deepchord,
Adolescents, Adolescents, Adolescents, Adolescents.
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.