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 Marshall Islands and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Cairo 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 Nile Rodgers 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 Sam Rivers to the disco kids.
I played it at the 40 Watt.
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 Roy Ayers. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
kango's stein massive,
Bootsy Collins,
Inner City,
U.S. Maple,
Model 500,
Deakin,
The Move,
Kool G Rap & DJ Polo,
Fela Kuti,
Pylon,
The Men They Couldn't Hang,
Scratch Acid,
The Skatalites,
The Doobie Brothers,
Quadrant,
Khruangbin,
The Stooges,
Gerry Rafferty,
Kevin Saunderson,
Drexciya,
10cc,
Susan Cadogan,
Beasts of Bourbon,
Barry Ungar,
Glambeats Corp.,
Avey Tare,
Strawberry Alarm Clock,
Y Pants,
Vaughan Mason & Crew,
Drive Like Jehu,
The Count Five,
Pantytec,
Super Lover Cee & Casanova Rud,
Mark Hollis,
Sonic Youth,
Rhythm & Sound,
Warsaw,
Bush Tetras,
Can,
Aaron Thompson,
B.T. Express,
Pharaoh Sanders and the Fire Engines,
Pierre Henry,
Ken Boothe,
Marc Romboy vs. Booka Shade,
Ohio Players,
Kauko Röyhkä ja Narttu,
The United States of America,
The Flesh Eaters,
Mission of Burma,
Sparks,
John Coltrane,
The Moleskins,
Eric Copeland,
Tres Demented,
Orchestral Manoeuvres in the Dark,
The Index,
James Chance & The Contortions,
Charles Mingus,
Colin Newman,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.