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 Papua New Guinea and from Calgary.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Rhythm & Sound 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 AZ. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fad Gadget record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Mojo Men,
Sexual Harrassment,
The Victims,
Public Image Ltd.,
Audionom,
Echo & the Bunnymen,
Gastr Del Sol,
Dark Day,
Bang on a Can All-Stars,
Roy Ayers Ubiquity,
The Pop Group,
Pete Rock & C.L. Smooth,
Kings Of Tomorrow,
Big Daddy Kane,
Rosa Yemen,
Yellowson,
Half Japanese,
Johnny Osbourne,
Sun Ra,
Skaos,
Warsaw,
Radiohead,
Thee Headcoats,
Minny Pops,
Sound Behaviour,
Sparks,
Icehouse,
U.S. Maple,
Metal Thangz,
Tears for Fears,
Pere Ubu,
Zero Boys,
Janne Schatter,
Brand Nubian,
Guru Guru,
The Fire Engines,
The Gap Band,
Soft Cell,
Amazonics,
Grey Daturas,
Funky Four + One,
Accadde A,
Be Bop Deluxe,
Isaac Hayes,
Chris Corsano,
Kerrie Biddell,
The Slits,
the Slits,
Slick Rick,
Skarface,
Gang Starr,
The Misunderstood,
Minor Threat,
Jesper Dahlback,
The Monks,
Sun Ra Arkestra,
Altered Images,
Todd Rundgren,
Charles Mingus,
Deadbeat,
Bang On A Can,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.