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 Australia and from Beijing.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Beijing 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 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 Joe Smooth to the grime kids.
I played it at the Spitz.
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 Ohio Players. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Amon Düül,
The Barracudas,
Bizarre Inc.,
Patti Smith,
Captain Beefheart & His Magic Band,
CMW,
De La Soul & Jungle Brothers,
Joey Negro,
Mr. Review,
Average White Band,
One Last Wish,
The Fall,
Major Organ And The Adding Machine,
X-102,
Fort Wilson Riot,
Ludus,
a-ha,
B.T. Express,
Interpol,
Laurel Aitken,
Joe Smooth,
Juan Atkins,
Kaleidoscope,
Kurtis Blow,
John Holt,
Minor Threat,
Aswad,
Jawbox,
Vainqueur,
Wire,
Erykah Badu,
the Swans,
Howard Jones,
Robert Wyatt,
Swell Maps,
Lou Reed & John Cale,
Robert Hood,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
KRS-One,
Röyhkä ja Rättö ja Lehtisalo,
Wolf Eyes,
World's Most,
The Human League,
Skriet,
Amazonics,
Susan Cadogan,
Kauko Röyhkä ja Narttu,
The Royal Family And The Poor,
In Retrospect,
Crooked Eye,
The Dave Clark Five,
John Coltrane,
Jesper Dahlback,
Sexual Harrassment,
Boogie Down Productions,
The Flesh Eaters,
Masters at Work,
Alton Ellis,
The New Christs,
Country Joe & The Fish,
The Sonics,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.