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 Bahrain and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1965 to 1971.
I'm losing my edge.
To all the kids in Milan and Mumbai.
I'm losing my edge to the art-school Tokyo 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Derrick May to the grime 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 Crispian St. Peters. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
D'Angelo,
The Offenders,
Harry Pussy,
Anthony Braxton,
Aswad,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gil Scott Heron,
The Barracudas,
Organ,
Max Romeo,
The Dead C,
Angry Samoans,
Gichy Dan,
Electric Light Orchestra,
Fatback Band,
A Certain Ratio,
The Cowsills,
Sparks,
Juan Atkins,
Liliput,
Jacques Brel,
Harmonia,
Roger Hodgson,
Grauzone,
Camouflage,
Chrome,
Essential Logic,
The Fire Engines,
Skaos,
Y Pants,
The Alarm Clocks,
Super Lover Cee & Casanova Rud,
K-Klass,
The Trojans,
The Real Kids,
Judy Mowatt,
Godley & Creme,
Amazonics,
Ultravox,
The Invisible,
Morten Harket,
Buzzcocks,
Barrington Levy,
Black Sheep,
Basic Channel,
Major Organ And The Adding Machine,
Jerry Gold Smith,
Kurtis Blow,
Little Man,
Country Teasers,
Funkadelic,
La Düsseldorf,
Ossler,
Parry Music,
Graham Central Station,
Ash Ra Tempel,
Eric Dolphy,
Albert Ayler,
Peter & Gordon,
Lucky Dragons,
Rosa Yemen,
The Angels of Light,
The Evens, The Evens, The Evens, The Evens.
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.