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 Lebanon and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Lille 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 Michael McDonald 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 Black Pus to the funk kids.
I played it at the Troubador.
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 Spoonie Gee. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Soul II Soul,
Grey Daturas,
Terrestrial Tones,
Joy Division,
The Human League,
Negative Approach,
Slave,
Von Mondo,
Ossler,
Major Organ And The Adding Machine,
Fort Wilson Riot,
Deutsch Amerikanische Freundschaft,
Bob Dylan,
Bobby Womack,
Joe Finger,
Anthony Braxton,
Livin' Joy,
Nas,
Janne Schatter,
Nico,
Fatback Band,
Arab on Radar,
The Golliwogs,
The Motions,
Lalo Schifrin,
Carl Craig,
Donny Hathaway,
The Fall,
Con Funk Shun,
The Birthday Party,
The Barracudas,
Glenn Branca,
Kango’s Stein Massive,
AZ,
Quando Quango,
The Pretty Things,
Schoolly D,
Neil Young,
Drexciya,
Jesper Dahlbäck,
The Flesh Eaters,
Neu!,
Bobby Hutcherson,
Marvin Gaye,
Brothers Johnson,
The Knickerbockers,
DJ Style,
Deepchord,
Ice-T,
Boogie Down Productions,
Audionom,
Kaleidoscope,
Peter & Gordon,
Stiv Bators,
The Young Rascals,
Monks,
Louis and Bebe Barron,
The Mummies,
Eden Ahbez,
Skaos, Skaos, Skaos, Skaos.
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.