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 Burkina and from Glasgow.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Houston.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Eric B and Rakim to the techno 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 James Chance & The Contortions. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Rod Modell,
Flamin' Groovies,
Leonard Cohen,
Second Layer,
Neil Young & Crazy Horse,
The Cosmic Jokers,
Ronnie Foster,
Sight & Sound,
Barry Ungar,
K-Klass,
The Red Krayola,
Red Lorry Yellow Lorry,
Godley & Creme,
Crash Course in Science,
Chris & Cosey,
Derrick May,
Funky Four + One,
Can,
Sound Behaviour,
Tres Demented,
Ornette Coleman,
Model 500,
John Foxx,
Reuben Wilson,
Dual Sessions,
Terry Callier,
Vaughan Mason & Crew,
Sun Ra Arkestra,
Skriet,
Kings Of Tomorrow,
Darondo,
Bill Wells,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Blues Magoos,
Inner City,
Hashim,
These Immortal Souls,
The Human League,
Neu!,
Gregory Isaacs,
Depeche Mode,
Fear,
Khruangbin,
Arthur Verocai,
Funkadelic,
The Electric Prunes,
Smog,
Sex Pistols,
Los Fastidios,
Rhythim Is Rhythim,
Basic Channel,
Manfred Mann's Earth Band,
Sun Ra,
Marc Almond,
Boz Scaggs,
Quando Quango,
Pharoah Sanders,
Anthony Braxton,
The Sonics,
Cybotron,
Anakelly,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.