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 Uruguay and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 The Alarm Clocks to the electroclash 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 Symarip. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Scratch Acid,
Newcleus,
Soft Machine,
the Association,
Soft Cell,
Morten Harket,
The Grass Roots,
Lonnie Liston Smith,
Rowland S Howard / Lydia Lunch,
Crispian St. Peters,
Scrapy,
Underground Resistance,
Rakim,
The J.B.'s,
Bill Near,
Faraquet,
Aloha Tigers,
The Peanut Butter Conspiracy,
The Sound,
Malaria!,
Freddie Wadling,
Curtis Mayfield,
Pharaoh Sanders and the Fire Engines,
Teenage Jesus and the Jerks,
Scott Walker,
Graham Central Station,
Negative Approach,
Loose Ends,
Mission of Burma,
Sonny Sharrock,
Gerry Rafferty,
Moby Grape,
Rotary Connection,
Eyeless In Gaza,
Arab on Radar,
Toni Rubio,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Dirtbombs,
Drive Like Jehu,
Rosa Yemen,
Echo & the Bunnymen,
Amazonics,
Avey Tare's Slasher Flicks,
Vainqueur,
LL Cool J,
Parry Music,
Ossler,
Funkadelic,
Brick,
Anakelly,
The Associates,
John Foxx,
Janne Schatter,
Hoover,
Bobby Hutcherson,
Electric Prunes,
This Heat,
Eli Mardock,
Grandmaster Flash and the Furious Five,
The Slits,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.