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 Iran and from Paris.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1968 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 The Chocolate Watch Band to the grime kids.
I played it at Cafe Wha.
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 Theoretical Girls. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
The Cosmic Jokers,
Jimmy McGriff,
The Leaves,
the Association,
Aural Exciters,
A Flock of Seagulls,
Scratch Acid,
Kerrie Biddell,
Gang of Four,
Mark Hollis,
Bizarre Inc.,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rapeman,
Joe Finger,
DeepChord presents Echospace,
Alphaville,
Blossom Toes,
Deakin,
Bootsy's Rubber Band,
Thee Headcoats,
Rites of Spring,
Sound Behaviour,
Peter Gordon & Love of Life Orchestra,
the Fania All-Stars,
Gil Scott Heron,
The Victims,
Lalo Schifrin,
Spoonie Gee,
Mantronix,
The Fugs,
Stiv Bators,
Monks,
Kaleidoscope,
Zapp,
Bang on a Can All-Stars,
Gichy Dan,
Teenage Jesus and the Jerks,
Television,
Scion,
Rotary Connection,
Marine Girls,
Magma,
Kas Product,
The Dirtbombs,
Pierre Henry,
H. Thieme,
Tom Boy,
The J.B.'s,
Visionaries,LMNO, T- Love & Iriscience,
Boz Scaggs,
Scott Walker,
the Soft Cell,
The Gories,
Deutsch Amerikanische Freundschaft,
Ajijia Myrayebe,
Rod Modell,
The Standells,
Eden Ahbez,
The Monochrome Set,
The Slits, The Slits, The Slits, The Slits.
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.