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 South Africa and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 Houston and Philadelphia.
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 güiro sounds with much patience.
I was there when Captain Beefheart 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 EPMD to the jazz 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 Lalo Schifrin. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every The Cramps 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Bobby Hutcherson,
Bobby Sherman,
Sun Ra Arkestra,
Red Lorry Yellow Lorry,
The Zeros,
Suburban Knight,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Slackers,
Wire,
Mission of Burma,
Lightning Bolt,
Steve Hackett,
Pierre Henry,
Avey Tare & Kría Brekkan,
Second Layer,
Pete Rock & C.L. Smooth,
The Cosmic Jokers,
James White and The Blacks,
The Cowsills,
Loose Ends,
H. Thieme,
Bluetip,
Black Moon,
Mo-Dettes,
Erasure,
the Germs,
Cameo,
The Victims,
Minor Threat,
Cal Tjader,
Bootsy's Rubber Band,
Q and Not U,
The Vogues,
Index,
Stereo Dub,
Qualms,
Big Daddy Kane,
The Associates,
Sonny Sharrock,
Thee Headcoats,
The Techniques,
Marmalade,
World's Most,
Soul II Soul,
Crispy Ambulance,
Carl Craig,
The Stooges,
The Young Rascals,
LL Cool J,
Basic Channel,
Sun City Girls,
Soul Sonic Force,
Black Bananas,
DJ Style,
Henry Cow,
The Evens,
Simply Red,
Lungfish,
Pole,
Peter and Kerry,
The Sound, The Sound, The Sound, The Sound.
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.