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 Equatorial Guinea and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Nico to the dance 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 The Fortunes. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every James White and The Blacks 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Angels of Light & Akron/Family,
The Star Department,
Kauko Röyhkä ja Narttu,
Ten City,
Sad Lovers and Giants,
Junior Murvin,
Brass Construction,
Tom Boy,
the Bar-Kays,
Nirvana,
Letta Mbulu,
The Royal Family And The Poor,
Davy DMX,
X-102,
Alison Limerick,
Roy Ayers Ubiquity,
Bootsy Collins,
Gil Scott Heron,
The Slits,
Aaron Thompson,
David McCallum,
The Sonics,
Oblivians,
Public Enemy,
Terry Callier,
Scott Walker,
DNA,
Amazonics,
Flamin' Groovies,
Joyce Sims,
Glambeats Corp.,
Bobby Byrd,
Average White Band,
E-Dancer,
Iggy Pop,
Silicon Teens,
Brick,
Rites of Spring,
Derrick Morgan,
Marmalade,
The Dave Clark Five,
Be Bop Deluxe,
The Dead C,
Black Sheep,
The Misunderstood,
Massinfluence,
Howard Jones,
F. McDonald,
Bluetip,
Hoover,
Nils Olav,
Ohio Players,
Gil Scott-Heron and Jamie xx,
Sällskapet,
Can,
Roy Ayers,
Lebanon Hanover,
Wolf Eyes,
Grauzone,
The Associates,
Crash Course in Science,
Bang on a Can All-Stars,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.