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 Luxembourg and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Tehran.
I'm losing my edge to the art-school Philadelphia 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 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 Bobby Womack to the dance 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 Erasure. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every John Holt 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Matthew Halsall,
Yazoo,
Motorama,
Prince Buster,
Moebius,
Mr. Review,
Brass Construction,
World's Most,
Avey Tare's Slasher Flicks,
Pantytec,
Liliput,
Gastr Del Sol,
Robert Hood,
Aswad,
The American Breed,
Art Ensemble Of Chicago,
John Holt,
Reagan Youth,
PIL,
Los Fastidios,
Lyres,
The Motions,
Fatback Band,
Jeff Lynne,
Bush Tetras,
Boogie Down Productions,
Make Up,
Tom Boy,
Khruangbin,
Grandmaster Flash,
Y Pants,
Negative Approach,
Depeche Mode,
Rufus Thomas,
FM Einheit,
Sad Lovers and Giants,
Lalo Schifrin,
Scrapy,
The Smoke,
The Pop Group,
Ludus,
Country Teasers,
Amon Düül II,
Bill Wells,
Girls At Our Best!,
Röyhkä ja Rättö ja Lehtisalo,
The Human League,
Donald Byrd,
The Beau Brummels,
Pulsallama,
Arcadia,
Eric Copeland,
the Swans,
Dual Sessions,
Sällskapet,
Nils Olav,
Alison Limerick,
The Slackers,
The Fall,
Moby Grape,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.