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 Brazil and from Portland.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
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 guitar 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 Juan Atkins to the disco kids.
I played it at the Crocodile.
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 Idris Muhammad. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every The Invisible 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
The Walker Brothers,
UT,
Niagra,
Depeche Mode,
Stiv Bators,
Kings Of Tomorrow,
Funky Four + One,
Terrestrial Tones,
Thee Headcoats,
Skarface,
Rahsaan Roland Kirk,
Oppenheimer Analysis,
Ultimate Spinach,
Ludus,
Jawbox,
Zapp,
the Germs,
Ronan,
The Names,
Nation of Ulysses,
New Age Steppers,
Todd Terry,
Terror Squad Feat. Camron,
The Knickerbockers,
Sonny Sharrock,
Lakeside,
Leonard Cohen,
Gong,
Lou Reed & John Cale,
10cc,
Bobby Womack,
Chris & Cosey,
Lalo Schifrin,
The Associates,
Althea and Donna,
Camron Feat. Jay Z And Juelz,
The Music Machine,
Harry Pussy,
K-Klass,
Guru Guru,
Susan Cadogan,
David McCallum,
June of 44,
R.M.O.,
The Birthday Party,
The Techniques,
Jacob Miller,
The Doobie Brothers,
Qualms,
Siglo XX,
Young Marble Giants,
The Happenings,
Fatback Band,
Subhumans,
Monks,
Isaac Hayes,
Warsaw,
Tubeway Army,
Thinking Fellers Union Local 282,
Panda Bear,
John Holt, John Holt, John Holt, John Holt.
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.