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 Italy and from Sao Paulo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school Stockholm 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 guitar sounds with much patience.
I was there when Lou Reed 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 Busters to the jazz kids.
I played it at the Hacienda.
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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Heavy D & The Boyz,
Half Japanese,
Dark Day,
Soft Machine,
Davy DMX,
Sparks,
Leonard Cohen,
Tim Buckley,
Sällskapet,
Ultravox,
Shuggie Otis,
Kevin Saunderson,
The Alarm Clocks,
Livin' Joy,
Groovy Waters,
Rekid,
The Slackers,
Sticky Fingaz feat. Raekwon,
The Grass Roots,
Brand Nubian,
Crime,
Radiopuhelimet,
Gong,
Absolute Body Control,
Camron Feat. Memphis Bleek And Beenie Seigel,
K-Klass,
Jeff Mills,
Severed Heads,
R.M.O.,
Crispian St. Peters,
Symarip,
The Martian,
The Durutti Column,
Deadbeat,
DNA,
Yaz,
Blake Baxter,
Roger Hodgson,
Minutemen,
Bang on a Can All-Stars,
Moss Icon,
Simply Red,
Terror Squad Feat. Camron,
A Certain Ratio,
Joensuu 1685,
Bobby Sherman,
Idris Muhammad,
Eden Ahbez,
Accadde A,
Letta Mbulu,
Nas,
The Techniques,
The West Coast Pop Art Experimental Band,
The Victims,
Brass Construction,
Archie Shepp,
Pylon,
Pharoah Sanders,
Con Funk Shun,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.