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 Tanzania and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Manchester 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 theremin 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 Agitation Free to the jazz kids.
I played it at the Roxy.
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 Doors. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Big Daddy Kane 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Half Japanese,
Animal Collective,
Roy Ayers Ubiquity,
Harry Pussy,
The Misunderstood,
Matthew Halsall,
Rod Modell,
Sexual Harrassment,
Quantec,
Whodini,
The Zeros,
Gastr Del Sol,
a-ha,
Unwound,
Swell Maps,
Marshall Jefferson,
The Associates,
Parry Music,
Slave,
The American Breed,
Patti Smith,
Kool G Rap & DJ Polo,
Groovy Waters,
New Age Steppers,
Leonard Cohen,
Arab on Radar,
Kango’s Stein Massive,
Quadrant,
Kenny Larkin,
The Five Americans,
Rhythm & Sound,
Minnie Riperton,
Kurtis Blow,
T. Rex,
Jesper Dahlbäck,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Dave Clark Five,
The Grass Roots,
Larry & the Blue Notes,
Moebius,
Television Personalities,
The Jesus and Mary Chain,
Ossler,
Stetsasonic,
The Mighty Diamonds,
June of 44,
Funkadelic,
Q and Not U,
Massinfluence,
Eli Mardock,
Josef K,
Mantronix,
Fear,
Symarip,
The Motions,
Bobbi Humphrey,
Fatback Band,
Isaac Hayes,
Big Daddy Kane,
Lalo Schifrin,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.