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 the UAE and from Spokane.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Salvador 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 organ sounds with much patience.
I was there when David Bowie 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 Average White Band to the rock kids.
I played it at the 40 Watt.
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 A Certain Ratio. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Unrelated Segments 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
DNA,
Captain Beefheart & His Magic Band,
Zero Boys,
The Index,
Gichy Dan,
The Victims,
Lonnie Liston Smith,
Gang Gang Dance,
La Düsseldorf,
Bobbi Humphrey,
Goldenarms,
Das Ding,
Cybotron,
The Pretty Things,
Marc Romboy vs. Booka Shade,
Sly & The Family Stone,
Pere Ubu,
Fort Wilson Riot,
John Holt,
The Residents,
Minor Threat,
The Martian,
Rakim,
The Blues Magoos,
AZ,
Avey Tare,
Terror Squad Feat. Camron,
Camberwell Now,
Jeff Lynne,
Arcadia,
Aaron Thompson,
Deutsch Amerikanische Freundschaft,
Make Up,
Rufus Thomas,
The Fortunes,
cv313,
Dark Day,
Peter and Kerry,
Qualms,
Al Stewart,
Ultra Naté,
Bill Near,
Kerri Chandler,
Mad Mike,
Röyhkä ja Rättö ja Lehtisalo,
Ornette Coleman,
Sam Rivers,
Sound Behaviour,
Boz Scaggs,
Cameo,
The Leaves,
Tres Demented,
Byron Stingily,
Anthony Braxton,
Minutemen,
Subhumans,
Glambeats Corp.,
Deadbeat,
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.