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 Jamaica and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
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 Masters at Work to the grunge 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 Kerrie Biddell. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Vaughan Mason & Crew,
the Slits,
Parry Music,
Yellowson,
L. Decosne,
Brand Nubian,
The Happenings,
Camouflage,
The Fire Engines,
Hardrive,
Easy Going,
Quantec,
Dorothy Ashby,
Eddi Front,
Moebius,
Andrew Hill,
Sad Lovers and Giants,
Porter Ricks,
Faust,
the Soft Cell,
Peter Gordon & Love of Life Orchestra,
The Blackbyrds,
Danielle Patucci,
Crispy Ambulance,
Eli Mardock,
Simply Red,
Procol Harum,
Chrome,
Gary Puckett & The Union Gap,
the Normal,
Siglo XX,
Junior Murvin,
Roxy Music,
Khruangbin,
Young Marble Giants,
Rhythm & Sound,
Country Joe & The Fish,
Deutsch Amerikanische Freundschaft,
The Cosmic Jokers,
The Music Machine,
Oblivians,
Gil Scott Heron,
The Vogues,
The Index,
Bluetip,
Whodini,
Roxette,
Glambeats Corp.,
Barbara Tucker,
The Litter,
Delon & Dalcan,
David Axelrod,
Archie Shepp,
Aural Exciters,
John Coltrane,
A Certain Ratio,
Cybotron,
Hoover,
Lucky Dragons,
Television, Television, Television, Television.
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.