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 Philippines and from Paris.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Salvador.
I'm losing my edge to the art-school Portland 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Tropical Tobacco to the techno kids.
I played it at Cafe Wha.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Rod Modell,
Arcadia,
Skaos,
Circle Jerks,
Kerri Chandler,
Electric Prunes,
Avey Tare,
Harpers Bizarre,
Boogie Down Productions,
The Durutti Column,
The Cowsills,
The Pop Group,
The Music Machine,
Nik Kershaw,
Rotary Connection,
Joe Smooth,
Robert Hood,
The Star Department,
The Motions,
Subhumans,
Bootsy Collins,
Quadrant,
The Chocolate Watch Band,
Curtis Mayfield,
Stiv Bators,
The Moody Blues,
Idris Muhammad,
Art Ensemble Of Chicago,
Sight & Sound,
Jandek,
Wighnomy Brothers & Robag Wruhme,
The Stooges,
The Shadows of Knight,
Terror Squad Feat. Camron,
Second Layer,
Soft Cell,
Scratch Acid,
Bootsy's Rubber Band,
Depeche Mode,
Crime,
OOIOO,
Eric Dolphy,
The Blackbyrds,
Todd Rundgren,
U.S. Maple,
The Knickerbockers,
Judy Mowatt,
Cameo,
Soft Machine,
The Residents,
Quando Quango,
Boredoms,
Pet Shop Boys,
Tim Buckley,
Godley & Creme,
Pulsallama,
New Order,
Magazine,
The Detroit Cobras,
Sandy B,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.