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 Serbia and from Glasgow.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Groovy Waters to the techno kids.
I played it at the Troubador.
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 Vaughan Mason & Crew. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Scientists record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Gil Scott-Heron & Brian Jackson,
Grauzone,
Colin Newman,
Sister Nancy,
Excepter,
Ossler,
The Shadows of Knight,
Junior Murvin,
Bizarre Inc.,
Wighnomy Brothers & Robag Wruhme,
Metal Thangz,
DJ Sneak,
De La Soul & Jungle Brothers,
Reagan Youth,
Con Funk Shun,
Blossom Toes,
Cecil Taylor,
Harmonia,
Joe Smooth,
Avey Tare & Kría Brekkan,
London Community Gospel Choir,
the Normal,
Todd Terry,
Stetsasonic,
Stockholm Monsters,
Country Teasers,
K-Klass,
The Seeds,
Fat Boys,
Panda Bear,
Jandek,
Malaria!,
Hoover,
AZ,
Altered Images,
The Young Rascals,
Deakin,
John Coltrane,
The Jesus and Mary Chain,
Boogie Down Productions,
June Days,
Bill Near,
Barbara Tucker,
Drexciya,
Brass Construction,
The Cosmic Jokers,
Organ,
Curtis Mayfield,
Roy Ayers Ubiquity,
Eric Dolphy,
The Sisters of Mercy,
Pharaoh Sanders and the Fire Engines,
Idris Muhammad,
The Trojans,
Ultra Naté,
Masters at Work,
The Dirtbombs,
It's A Beautiful Day,
Roxette,
Ituana, Ituana, Ituana, Ituana.
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.