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 Slovakia and from Shanghai.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 Selector Dub Narcotic to the disco kids.
I played it at the Astoria.
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 June of 44. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Yellowson 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Main Source,
Wally Richardson,
Interpol,
The Young Rascals,
Eli Mardock,
Girls At Our Best!,
Hasil Adkins,
Scan 7,
Parry Music,
Bluetip,
Eric Dolphy,
The Jesus and Mary Chain,
Pete Rock & C.L. Smooth,
Pagans,
Yusef Lateef,
Robert Wyatt,
Andrew Ashong & Theo Parrish,
Camberwell Now,
Davy DMX,
Iggy Pop,
Chris & Cosey,
Boogie Down Productions,
cv313,
Sexual Harrassment,
The Detroit Cobras,
Dr. Dre and Snoop Doggy Dog,
Swell Maps,
Grey Daturas,
Crash Course in Science,
Visage,
Sun Ra Arkestra,
ABC,
Ultimate Spinach,
The Shadows of Knight,
Rosa Yemen,
Anakelly,
Letta Mbulu,
Metal Thangz,
Kerri Chandler,
Peter & Gordon,
Marc Romboy vs. Booka Shade,
Dorothy Ashby,
Cluster,
FM Einheit,
Ten City,
Schoolly D,
E-Dancer,
Mo-Dettes,
Can,
Hoover,
Newcleus,
Fugazi,
Tropical Tobacco,
a-ha,
Eden Ahbez,
MC5,
Louis and Bebe Barron,
JFA,
48th St. Collective,
X-Ray Spex,
Charles Mingus,
The Durutti Column,
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.