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 Bangladesh and from Columbus.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school Edmonton 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Idris Muhammad to the grunge kids.
I played it at Trash.
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 Donald Byrd. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
The Music Machine,
The Victims,
Bad Manners,
Bootsy Collins,
Al Stewart,
Siouxsie and the Banshees,
Joyce Sims,
Susan Cadogan,
Moss Icon,
Marcia Griffiths,
Marshall Jefferson,
Fugazi,
Heavy D & The Boyz,
Notorious BIG live in Amsterdam,
The Selecter,
Thinking Fellers Union Local 282,
Ash Ra Tempel,
The Doobie Brothers,
Terrestrial Tones,
Rotary Connection,
Glambeats Corp.,
Pantaleimon,
The United States of America,
A Flock of Seagulls,
Barry Ungar,
Massinfluence,
Country Teasers,
the Normal,
John Holt,
Mary Jane Girls,
The Chocolate Watch Band,
The Gap Band,
Metal Thangz,
Sonic Youth,
Minnie Riperton,
Deakin,
The Knickerbockers,
The Cosmic Jokers,
Kool G Rap & DJ Polo,
Joey Negro,
Masters at Work,
Minny Pops,
John Cale,
Kayak,
Harpers Bizarre,
Eve St. Jones,
the Fania All-Stars,
Franke,
Sam Rivers,
Nick Fraelich,
D'Angelo,
The Zeros,
Drexciya,
Qualms,
Louis and Bebe Barron,
Q and Not U,
Cheater Slicks,
Magazine,
Brand Nubian,
Kaleidoscope,
Scientists,
Throbbing Gristle,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.