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 Angola and from Bremen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Lyon 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 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 Pylon to the rap kids.
I played it at Trash.
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 Ronnie Foster. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Dennis Brown record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Public Enemy,
Guru Guru,
Gang of Four,
Stiv Bators,
Ornette Coleman,
Negative Approach,
Tropical Tobacco,
The Smoke,
Liaisons Dangereuses,
U.S. Maple,
Frankie Knuckles,
Bush Tetras,
Robert Wyatt,
Lizzy Mercier Descloux,
The Grass Roots,
Lou Christie,
Roxy Music,
The Index,
Donald Byrd,
Marine Girls,
Lou Reed & John Cale,
Aaron Thompson,
The Barracudas,
X-101,
The Star Department,
Gil Scott-Heron and Jamie xx,
Ice-T,
Eric Dolphy,
The Buckinghams,
Popol Vuh,
Rosa Yemen,
Terry Callier,
Visage,
Idris Muhammad,
De La Soul & Jungle Brothers,
Orchestral Manoeuvres in the Dark,
Kool G Rap & DJ Polo,
The Alarm Clocks,
Subhumans,
Malaria!,
Fat Boys,
Lou Reed,
Darondo,
Bobby Byrd,
the Human League,
Man Eating Sloth,
Richard Hell and the Voidoids,
The Invisible,
The Remains,
Radiohead,
Be Bop Deluxe,
Jeff Lynne,
F. McDonald,
Chris Corsano,
Lafayette Afro Rock Band,
Bill Wells,
Bobby Womack,
Jacob Miller,
Vaughan Mason & Crew,
Marc Romboy vs. Booka Shade,
Black Flag,
Cybotron, Cybotron, Cybotron, Cybotron.
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.